Following the huge success of the play Prima Facie, the pressure must have been on for writer Suzie Miller and director Justin Martin. So, what does the audience want next? More of the same is tempting – a contemporary, character-driven drama, with a star lead, and lots of after-show conversation. But something different, too, right? What might be called development? Much to Inter Alia’s credit, and new leading lady Rosamund Pike, both demands are delivered.
Inter Alia is – another – legal drama. And a fine one. This time our heroine, Jessica Parks, is a judge. She’s good at her job, too, compassionate and skilled at listening. She is aware of her privilege, appalled by rape myths, in charge and inspirational. The commitment Pike brings to the role is tremendous. Parks is a kind of rock star at work, microphone in hand, music backing her up. And there’s just as much energy at home and at play. She bounds around the stage and over the furniture.
If what happens next is a little too obvious, the character is strong enough to forgive it. Because the other thing Parks is very much amongst is being a wife and a mother. Miller has a keen, often amusing, take on the problems of juggling a career and parenting. Parks is, by default, the “primary carer” (groans of recognition from the audience). Despite her fears and funny blunders, she’s a good mum, too. Flashback scenes to her boy’s early years are highlights.
Unlike Prima Facie, this isn’t a solo show. We get to meet father and son, capably played by Jamie Glover and Jasper Talbot, respectively, and well-written, although the point is very much how Parks has to juggle these men’s egos. When it comes to multi-tasking, Pyke excels. Parks runs an internal dialogue and addresses the audience at the same time as playing against other characters. The delivery must be exhausting – it’s intense enough for a viewer – but the rewards are huge as we observe her getting close to the character and the complexity of her problems.
With Martin’s strong direction, the action and Miller’s insights are clear. The dilemma worked towards is a painful one. If exploration around what happens feels rushed, let’s call it a mark of how involved we’ve become with all the characters. To watch Park’s perfect – if frantic – life collapse isn’t easy. Any hope Miller allows is, I fear, too close to wish fulfilment. But that’s something to discuss after the show. In all, it’s an elaborate, nuanced and powerful play.
Until 13 September 2025
Photos by Manuel Harlan