Inter Alia starring Rosamund Pike (Lyttelton Theatre, National Theatre, London) - ★★★★★ REVIEW

Summary

MickeyJoTheatre Podcast Summary

Episode: Inter Alia starring Rosamund Pike (Lyttelton Theatre, National Theatre, London) - ★★★★★ REVIEW
Host: MickeyJoTheatre (Micky Jo)
Release Date: July 29, 2025

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Introduction

In this episode, Mickey Jo delves into her enthusiastic review of Inter Alia, a compelling new play by Australian playwright Susie Miller, starring acclaimed actress Rosamund Pike. Set at the National Theatre's Lyttelton space in London, Inter Alia has garnered significant attention, particularly due to its star-studded cast and the reunion of the award-winning team behind Prima Facie.

Background and Context

Micky Jo begins by highlighting the anticipation surrounding Inter Alia, drawing parallels to Prima Facie, which featured Jodie Comer and achieved multi-award recognition on both West End and Broadway stages. She notes, “Inter Alia was always a hugely anticipated piece of programming at the National Theatre” (02:15). This excitement is amplified by the return of Susie Miller as the playwright and Justin Martin as the director, both of whom contributed to the success of Prima Facie.

Plot and Themes

Inter Alia centers on Jessica Parks, portrayed by Rosamund Pike, a female judge navigating the complexities of the British legal system while balancing her personal life as a wife and mother. The title, derived from the Latin phrase meaning “among other things,” underscores the dual responsibilities Jessica bears both professionally and domestically.

Micky Jo explains, “Inter Alia takes a very critical look at the justice system from the inside, from the perspective of a woman working amongst it” (05:40). The play delves into themes such as the legal processes surrounding sexual assault cases, the emotional labor of maintaining personal relationships, and the societal expectations placed on women within high-stress professions.

A pivotal moment in the plot is when Jessica’s teenage son is accused of rape, compelling her to confront her professional detachment and personal biases. Micky Jo remarks, “This is a position of conflict and bias that offers an interesting perspective on conversations about young men and sexual assault” (12:50).

Performance Analysis

Rosamund Pike delivers a standout performance as Jessica Parks, embodying the character’s complexity and emotional depth. Micky Jo praises Pike's versatility, stating, “There is no begrudging the reality of the extent of her performance on that stage” (10:30). Pike adeptly portrays multiple characters through her interactions with her husband and son, demonstrating exceptional range and command.

The portrayal extends to subtle nuances, such as Pike managing an ironing board while delivering monologues, symbolizing her multitasking nature both at home and in the courtroom. Micky Jo notes, “Rosamund Pike’s delivery and characterization don’t feel entirely genuine in one aspect, but there is nothing disingenuous about her relationship with her son” (11:45).

Direction and Staging

Justin Martin's direction receives high accolades for its innovative and immersive approach. The set design by Miriam Butler seamlessly transitions between Jessica’s professional and personal spaces, enhancing the narrative's fluidity. Micky Jo highlights a particularly ingenious moment: “The electric guitar becomes a metaphor for the romantic act between Jessica and her husband” (22:10).

Martin employs symbolic elements, such as the recurring yellow puffer jacket representing Jessica’s son and childhood innocence, culminating in surprising visual revelations that heighten the emotional impact. Micky Jo describes, “These revelations of cast and the way that children are used in childhood is invoked to painfully illustrate their innocence” (25:20).

Emotional Impact

The episode underscores the profound emotional resonance of Inter Alia. Micky Jo shares her personal experience, saying, “I was so awestruck by this, I was bowled over in a way I haven't been in several months” (08:50). The play’s ability to intertwine personal turmoil with professional duty leaves a lasting impression, prompting introspection and dialogue among audiences.

She further emphasizes the play's ability to evoke deep emotions, stating, “This play is an evaluation of the soul... my soul felt nonetheless scorched” (13:30). The intricate balance between courtroom drama and domestic struggles creates a compelling narrative that challenges viewers to empathize with Jessica’s dual burdens.

Conclusion and Recommendations

Micky Jo concludes her review with high praise for Inter Alia, considering it potentially even more impactful than Prima Facie. She advocates for its powerful storytelling and emotional depth, urging listeners to experience the play firsthand. “What a fantastic production. What brilliant direction. What an incredible performance from Rosamund Pike and the entire company” (28:05).

She anticipates the play’s transition to the West End and possibly Broadway, highlighting its significance in contemporary theatre discourse. Micky Jo encourages audience engagement, inviting listeners to share their thoughts and participate in the ongoing conversation about the play’s themes and performances.

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Notable Quotes:

• “Inter Alia was always a hugely anticipated piece of programming at the National Theatre.” (02:15)
• “This plays an ordinary woman who you could meet and her depth, who is flawed and complex.” (09:50)
• “I was so awestruck by this, I was bowled over in a way I haven't been in several months.” (08:50)
• “Rosamund Pike’s delivery and characterization don’t feel entirely genuine in one aspect, but there is nothing disingenuous about her relationship with her son.” (11:45)
• “The electric guitar becomes a metaphor for the romantic act between Jessica and her husband.” (22:10)
• “This play is an evaluation of the soul... my soul felt nonetheless scorched.” (13:30)
• “What a fantastic production. What brilliant direction. What an incredible performance from Rosamund Pike and the entire company.” (28:05)

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Final Thoughts

Mickey Jo’s review of Inter Alia is a testament to the play’s brilliance and emotional depth. Her insightful analysis, coupled with her passionate delivery, makes this episode a must-listen for theatre enthusiasts eager to explore the nuances of contemporary legal dramas and powerful performances.

Transcript

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[Micky Jo]

So I was thinking there was something sort of judicial looking about this outfit combination. If I've ended up looking like a gay Austin Powers, that's on me. Oh my God. Hey, welcome back to my theater themed YouTube channel. Or hello to you if you are listening listening on podcast platforms. My name is Micky Jo and I am obsessed with all things theatre. I'm a professional theatre critic here on social media and today I'm going to be letting you know what I thought of one of the newest openings at the National Theatre in London, which is Drum roll please while I reach for the program that I put too far away. Inter alia or inter alia, get ready for another fun few months of discussing that one. This is a new play by Australian playwright Susie Miller, starring Rosamund Pike. It just opened at the National Theatre's Littleton space and I saw it at very end of last week and I was so blown away by it. I was so staggered that initially I had no words, which is a very precarious position to be in for somebody in my line of work and I almost thought of making this review the very same night and telling you that I had no words, but you'd all ultimately be very disappointed because you do want to hear the words. I'm hoping that eventually came to me and that's what we're going to be talking through today. Once I gathered myself, we are going to be talking about this play, this script, this direction and of course the central performance from Rosamund Pike. And while I was be telling you what I thought of the play, I am particularly intrigued to hear what you thought. If you have had the opportunity to see this already, please comment with all of your thoughts down below about Inter Alia at the National Theatre. In the meantime, if you enjoy listening to what I have to say, if you would like to hear more of my theatre reviews, make sure to subscribe or follow me wherever you are, seeing my face or hearing my voice. In the meantime, let's get into it. This is Inter Alia now from the very moment that it was announced, Inter Alia was always a huge, hugely anticipated piece of programming at the National Theatre. This both because of the presence of stage and screen star Rosamund pike of Saltburn and many other fantastic films, many other brilliant memorable performances, but also because it was reuniting the team behind the very successful, multi award winning West End and Broadway hit Prima Facie, which starred Jodie Comer on either side of the Atlantic, which Jodie Comer is actually getting ready to return to in what I believe is an already sold out UK tour. It is also simultaneously being developed developed for the screen with Cynthia Erivo set to star I believe. But this once again is a play by playwright Susie Miller, who is an Australian playwright who has a background with qualifications in the legal system, which is what affords her such insight into these legal characters that she depicts in these plays. This once again is set within the justice system and sort of taking a very critical look at it from the inside from the perspective of a woman working amongst it. And this is also directed by Justin Martin. But there are immediately some differences between the two plays. The first being that Prima Facie was a one person show and Inter Alia meanwhile features a small company of characters around Rosamund Pike. She is not the only actor on stage. Jody was also playing a barrister and Rosamund is playing a judge, inherently of course a female judge who is having to balance her elevated status within the legal system with her home life with her husband and child and everything else that is going on, which is actually, actually what the title Inter Alia refers to. Inter Alia, I believe, being a Latin phrase that means, among other things, yes, I know. It would be pronounced inter alia with the Latin pronunciation, don't come for me. I have a gcse, and it's a dead language. And after the prima facie Vidal, I actually cannot do another year of arguing about the way that this is meant to be pronounced. Let's just accept all options. Let's just agree to do that. But what that refers to in this play is everything else happening in the life of Judge Jessica Parks and in the lives of female judges that they have to take care of, for which they are responsible, in addition to the work that they do inside of a courtroom. And it's critical that the play begins then, with an introduction to what a judge actually does within the context of a British courtroom, because it's a little separated from the impression that you might get, especially from a lot of, like, American legal drama, because, as Rosamund tells us, as Jessica Parks in this introductory monologue, while the judge may be the arbiter of courtroom drama and may remain constantly in control, they are not necessarily pulling the strings. And she is not dispensing guilt or not guilty verdicts. She is facilitating information being heard by a jury and permitting them to hear certain things or not hear certain things, and being at all times extraordinarily attentive. There is an immediate comparison drawn between the work that she does in a courtroom and the work that she does in her own home. There is also increasingly a lot of discussion about the importance of soft skills, something which you hear an awful lot about if you are working in healthcare or in education. And in this context, it's about. About the way in which she addresses and sort of takes responsibility for vulnerable and impressionable young individuals, often young women in sexual assault cases who are testifying within the court. And once again drawing a parallel, she points out to us that she is utilizing those same soft skills when she goes home to take care of her husband and her son. She is the only woman in this household, and just like in Prima Facie, her own personal feminism and her identity as a woman and how. How that intersects with her career and her profession is much of the focus, certainly, of the earlier parts of this play, with another key difference between the two, I suppose, being that Jessica is a mother, unlike Tessa in Prima Facie, and that forms a huge part of her identity at this point in her life. For now, I'm desperately trying not to dispense any spoilers. I will let you know when that is going to come, because it is going to have to at some point in this review. But another difference between the two plays that feels important to highlight, and I will go on to talk extensively about this direction and the staging, is that as far as the the staging and the storytelling and the narrative go, it expands significantly beyond its initial scope and beyond the scope of a monologue. In contrast to Prima Facie, this play evolves considerably. And there's something so interesting about the juxtaposition of this central protagonist, who is something of a narrator, and these scenes in which she enters into dialogue with her husband and son, because she is also depicting and portraying other characters on stage. She has other colleagues and friends who come around for dinner. At one point she hosts a large dinner party, and she is portraying multiple other individuals, but her husband and son are just moving around her and taking care of themselves. Meaning that literally and metaphorically, Rosamund's character, Jessica, is having to do significantly more emotional labor. And practically what we actually see as an audience and experience is her in the kitchen while her husband and son are simply trying to get themselves dressed and not really saying much, taking on all of these different roles and playing everyone else in a scenario. And as she is relating this story that becomes intertwined with the professional and the personal, this story of a moment within her own life and her career, she is recalling everyone else's reactions and characterizing every other individual in this story that also ties into her role as a judge. She tells us at the beginning in significant detail about how much attention she must pay to everyone in the courtroom, about the extent to which she is actively listening and perceiving people, which then retroactively makes her portrayals of them feel sort of like a past tense recollection of the story that we are seeing unfolding in real time. As such, it is another remarkable and astonishing feat of a performance that Rosamund pike is undertaking here, and all done so initially, at least, with such cool command. There is no begrudging the reality of the extent of her performance on that stage, or resentment of the fact that she is the one to have to depict all of these different characters in the face of, you know, very little involvement from her husband and son, that she is doing all of this, that she is constantly flying around the space and organizing things and doing the washing up and ironing things. Sometimes this is referred to, sometimes it isn't. Sometimes it is just implicit. And this is just characterizing her in a certain way, characterizing her level of obligation and requirement and the things that she has to do. All of the other stuff, the inter alia of it all, this is a character of such utter depth, who is flawed and who is complex and who struggles ultimately in the face of two opposing forces. And it's interesting because within the legal drama, I feel as though the judge can often be characterized as quite cold, quite dispassionate, and even in recollections of events within her own courtroom in that capacity. That is not at all how Rosamund pike portrayed, plays this character. It's particularly interesting because that is also a characteristic with which she has often been associated not throughout her work on screen, but certainly in some of her more well known roles. There is a stoic sort of ice queen quality which is very far apart from the way in which Jessica is characterized. This is a real everyday woman who you could meet. There's only really one moment in passing that feels a little false, which is when she sends her son to go and buy some last minute bits and pieces for the dinner party. And they're clearly in a very lovely kitchen and they're both doing exceedingly well in their legal careers, she and her husband. Although she is a judge, he is not, and this causes a little friction on multiple occasions between the two that she has to navigate while massaging his delicate ego, even in the context of their relationship. But the point here is that she sends her son not to the posh shops because having grown up not middle class, she doesn't feel as though she can go to them still. And there's just something about Rosamund Pike's delivery and characterization, it just doesn't feel entirely genuine. It still feels like a middle class character through and through. But there is nothing disingenuous about her relationship with her son, about these extraordinary maternal emotions that she is contending with and her relationship with her husband and the challenges therein that they are trying to navigate. Now, before I tell you exactly what this play is about and dispense a handful of spoilers, I want to tell you, and this may even be a spoiler in and of itself, I want to tell you how it affected me emotionally and what my response to this was. And if you don't want any kind of an expectation for how you ought to respond to it or how you ought to feel, feel free to skip away, go and see it for yourself, and then return to me when you have. But I was so awestruck by this, I was bowled over in a way I haven't been in several months. And it takes a lot to do that now, just because I go to the theatre so often. So something has to be really impactful, I think, to break through my slightly. I don't think I'm theatrically jaded. It's just that if I was to eat pizza five nights of the week, which I'm not and I don't particularly encourage, but if I was, it would take a really great pizza for me to go, oh, that's a really good pizza. And that is what happened here. Don't get me wrong, there are things about the play that I'm not entirely sure about and we'll talk about them, but this was an extraordina revelatory theatrical experience that left me, like I said, just awestruck. I don't remember the last occasion on which, as the lights were going down, I was sort of silently whispering to myself, oh, my God, oh my God, oh my God. And that is where I was in the final few minutes of this play. I was seeing it by myself. I subsequently had to spend about 10 minutes just walking around the building of the National Theatre, just trying to return to my body. This play is an evaluation of the soul. And even with something quite apart from my own identity, this talks about life as a working woman and wife and mother, and I am none of the above. Even with no personal stakes in this whatsoever, my soul felt nonetheless scorched. On that note, let me tell you now, specifically, a little bit more. How many discounts does USAA Auto Insurance offer? 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[Micky Jo]

About this play, so you have now been warned. Here come the massive spoilers about, inter alia. So the other connection between this and prima facie is that as well as being set both in the legal system, they are both exploring the same themes, which is the legal process by which sexual assault is criminally punished in the uk. In, inter alia, this is a topic which Jessica initially muses on because she considers how she weighs these kinds of cases and acknowledges the fact that those kinds of cases are often allocated to female judges because of, as I believe she puts it, their capacity for soft skills and nurturing. But this professional world becomes terrifyingly interlinked with her, her personal life, when her son, her teenage son, goes to a party and a few days later reveals to his parents that he is being accused of rape. This coming as an extraordinary surprise to Jessica, who has already explained to the audience at length that he has been bullied throughout his education as a very soft and gentle child who didn't have a particular tendency for sports, with this having been his first real party. But as all of this begins to unf in a very frightening way. There are so many scenes, there are so many single lines, so many single moments from all of the exposition that we've heard throughout her many monologues thus far, which are brought painfully into sharp and important focus. This is a play which feels as though for the first 40 minutes, it is dispensing an awful lot of unnecessary exposition. But you realize retroactively, all of these details have been pivotally important. All of these recollections. The moment in which she notes the reaction of the mother of a rapist who she sentences during a trial and reflects on how that mother must feel comes to bite her later on. The moment when she awkwardly has a conversation with her very young son about porn and consent because she thinks that he's watching something inappropriate on his laptop, but she comes to find out he's just watching a video game that he wasn't supposed to be. So many pivotal details, so many nuances are expertly foreshadowed in this text, and every utterance and reflection comes to be so important. It all takes on this very weighty and damning value by the end. And by the end, it's really interesting because I think this is such a valuable position from which to explore conversations about young men and sexual assault and rape and consent. And I think to explore it from the perspective of a mother and a mother who is a feminist and a mother who is working within the legal system and has sentenced other young men to jail time for not expressing remorse. To encounter someone in this position of conflict and bias within the situation, I think that's such an interesting perspective. We sort of move maybe a little too far away from her legal life as her home life takes over the narrative. What was always so interesting about Prima Facie is the way she approached everything simultaneously as a barrister and as a woman. Woman within the legal system at the same time. And I feel like we take just one too many steps out of the courtroom. And I would like for her workplace reality to come into it a little bit more literally, perhaps, in terms of the narrative, because I think those few moments when all of this is beginning to come to a head and she has to return to work are particularly fascinating. And that is also the setting and the occupation that makes a play like this far more interesting than a lot of other family dramas. And I enjoyed the exploration of this juxtaposition of a woman who has total control in this professional environment and who cannot seem to grasp the same kind of control in her own home. Now, there is a characteristic of Susie Miller's writing that I find very intriguing and on occasion a little bit inaccessible to get on board with, just because I think it can be certain, so focused and rapid and intense in terms of the delivery of information. It often feels as though it has been left to the performer or left to the director to find the cadence, to find the rhythm, to find the laugh. It's not necessarily offered in the text. And I wonder if some of that is to do with Susie Miller's own legal background and the necessity of characterizing this writing authentically in the voices of these women working in law who are being depicted in these plays. And that is the way that they would speak, and that is the extent to which they would deliver fully and powerfully all of this information in a very rapid and incisive way. Because in each of these plays there is this sort of full throttle quality to their commencement. I felt the same way about Weather Girl. Not a Susie Miller play, but it's a monologue that starts at a powerful pace and then just maintains it. And it can always be a little bit overwhelming. It's like embarking on a very fast roller coaster very quickly and then you just stay there for a long time and you either have to adjust to it or you can't. In this one, it's maybe a little bit easier because we have those scenes of dialogue with her family and a lot about the staging and a lot about the direction, which takes us by surprise and which switches gears on us, which feels like a great time to talk about Justin Martin.

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[Micky Jo]

Direction. Now I have to say I have enjoyed Justin Martin's direction on a handful of shows recently, but I left this one feeling as though I may have just seen the best directed play play I had ever seen. Some of the best direction I have ever seen on stage. It is just remarkable. I thought the script was brilliant. I thought Rosamund pike was outstanding. I thought the direction was extraordinary. And that is also the order in which I enjoyed those three things. I think this is incredibly well directed. Everything from the beginning with her doing this introductory monologue in the full judge's wig and gown with a microphone, looking like a rock star being portrayed as a rock star. But unlike with Prima Facie, having having accompaniment behind her because her teenage son is playing the drums, her slightly midlife crisis husband is playing the electric guitar. Both of those things characterize them to us immediately as well. The son has entered that period where he is slightly surly, a little more indifferent about reciprocating her affection. Every time she says I love you in a way that actually is beckoning him to come back and say it back and let her give him a kiss. The husband in the midlife crisis and the electric guitar thing, I feel is straightforward, but also, also this is a great moment. They, after their party, have a little bit of an unexpected amorous encounter. The two of them in the kitchen. And the electric guitar becomes representative of that because he is holding the guitar and then he places it over her. So they are both within the shoulder strap of the electric guitar and she is playing the electric guitar. And it becomes a metaphor for the romantic act that they are actually performing. That's ingenious. And I mean all of these moments of revelation in the set design, this gorgeous set design by Miriam Buther. We first discover her home life when it intrudes upon her workplace, when she gets repeated missed calls from her son and she has to find an excuse to get away from the case that she is presiding over. And we see him then half lit through gauze. And we then venture into that set, which is her home. We spend an awful lot of time there. But then there's another layer behind that that is subsequently revealed. There is this whole woods area, as she was recalling how difficult it managing her career, her professional life, when she was also taking care of him as a young child. And there's a scene in which we see a feed actually from her phone that she is holding. And she is doing a zoom meeting with a colleague and trying to make sure that she can still see her son playing on the swings. And then she can't see him for a split second and she can't find him. It becomes this huge panic. And she is recalling the details about cases that she has presided over about missing children and the details of those and how the first 30 minutes are crucial. All this stuff, strangers around her are coming to her aid, and it becomes devastating and harrowing. And the tone shifts quickly from this comic moment of her trying to balance clearly a very important professional meeting with talking to her young son playing on the swings. He is represented by a yellow, like, puffer jacket that she is searching for and eventually finds. And we then see that yellow coat repeated throughout the play as a representation of him, but also as a representation of his childhood. And this thing that she was trying to cling to and ultimately can't anymore but he is wearing gets really interesting. And this is a massive spoiler alert for the direction in particular. So we have this sort of standing up puffer jacket coat that represents him as a child, right? And she is holding it. And at one point she does the thing where she puts her own arm through it, and so we can see an arm holding hers. But we know that this is a child being represented by a coat. We've seen her on stage, we've seen the actor playing her husband and the actor playing her son. There is a moment way into the play, we think we know what the scope of this is in terms of the company and the people we're expecting to see. And we're like, there's no child because the coat is the child. There's a moment when a child suddenly appears, and it's shocking. There's another moment later when another child appears, and it is shocking. These revelations of cast and the way that children are used in childhood is invoked to painfully illustrate their innocence. It is very powerful to use the coat to illustrate the child that no longer is, but it's even more powerful after doing that, to almost betray us with and now look at the face of an actual child as we're talking about all of complicated things and telling you about the lives that these children are going to go on to have when they become teenagers and the complicated situations that they're going to become embroiled in. It's devastating. And that's what makes it and the final scenes of the play so difficult to look at. And this is just the obvious stuff as well. There are so many brilliant subtleties to this direction in conjunction with Rosamund's performance and the performance of the other members of the company here as well, who I do want to name, because these are the two actors. Actors also did really terrific work, and that was Jamie Glover as her husband Michael, and Jasper Talbot as her son, Harry. Jasper, in particular, had some very powerful moments in his performance. A very striking vulnerability as he came to terms with the conversations that he needed to have with his mother. Very difficult, very powerful. But there's one moment that made me sit on up and go, oh, this is some exceptional direction. And it wasn't at a point of extraordinary plot development. This is one of a handful of anecdotes that Jessica is recalling and depicting. And at this moment, Harry, her son, is trying to get ready for a Hawaiian themed party that he's going to. The first party that he's going to have gone to as a teenager. He was looking for a Hawaiian shirt at the beginning. That's why he kept calling her while she was at work, saying that it was an emergency and she insists on ironing the shirt for him. So she retrieves an ironing board from the cupboard and goes about actually ironing the shirt on stage with a functional plugged in iron while talking about the challenges of balancing her role as a mother and all of the obligations that come with that, like having to iron your son's shirts for the party that he's going to at the last minute with her challenging professional life. And the particular anecdote that she is telling is one in which she was called by her husband to leave work to go with him to the hospital because he had broken his arm. And then reflecting on the fact that her husband hadn't gone himself, that he had relayed the message to his wife and, you know, decided for the two of them that it was going to be her responsibility, even though they were both working and she was actually working on something that was considerably more pressing at the time. Now, while she's doing all of this, first of all, the way that Rosamund pike deploys an ironing board with one hand in one go was remarkable to me. Second of all, she's doing all of this at speed while actually ironing and doing a very good job of it. Third of all, the iron becomes the telephone as she recalls the conversation with her husband. And she depicts him by blowing excess steam out of the iron, literally blowing hot air. It's so good, it's so clever, it's so whimsical. It charms us before the whole thing gets difficult and philosophically challenging and asks us to listen to very difficult conversations and. And align ourselves with very difficult perspectives and decide where we're going to end up in the very difficult choice that's coming at the end of the whole thing. And that's not even the end of the scene because it becomes even more theatrical as she is disappearing into her memories of it. And there's a tablecloth over the kitchen table and she crawls towards it and there's a silhouette of a scared young child under the tablecloth as she is remembering meeting him in the hospital. We see a hand begin to reach around but then it disappears because we haven't seen the child. Not yet. It's all so good. The entire run is sold out, but I wish that I could go back and look just for more details in the direction. I also have bought the script and I need to reread the script immediately. It is going to be streamed, so I do plan to go and catch that just so I can pick up on more brilliant details. But what a fantastic production. What brilliant direction. What an incredible performance from Rosamund pike and the entire company. What a hard hitting, knife twisting, challenging, conversation inducing piece of theatre to go and see. I actually think I enjoyed this more than Prima Facie. I like that it was a more expanded narrative. I think because of the events of the whole thing, it was sort of empowered to take us to more interesting places as a piece of theatre. I would argue that this is the stronger of the two as a vital, impactful conversation starter. Prima Facie is probably still unmatched in that regard, but the this is a fantastic, fascinating piece of drama. I urge you to go and see and if you have already, please let me know what you thought. I need to talk to more people about this because right now I don't know really anyone else in my life who has been to go and see this play and I have to talk about it with people. So please let me know all of your thoughts in the comment section down below. If you're going to post spoilers, try and make sure that they're not super obvious, but in the meantime those have been my thoughts. I hope that you've enjoyed listening to them. I hope that you get a chance to see this at some point. It is very sold out in London, but I dare say if Rosamund wants to continue in the role, then it will likely transfer into the West End and then hopefully onwards to Broadway. It is also being screened via National Theatre Live. You have to go and check it out. I didn't make the rules, you just have to. In the meantime, thank you so much for listening to this review. I hope that everyone is staying safe and that you have a Stagey Day. For 10 more seconds. I'm Mickey Jo Theatre. Oh, my God. Hey, thanks for watching. Have a stagey day. Subscribe.

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