Inter Alia

Wyndham's Theatre

Playing until 20th June 2026

Book tickets

Photo credit: Manuel Harlan

Review {final preview performance}

A keen listener and master of reading the intricacies of emotions and behaviours, the Honourable Mrs Justice Jessica Parks (Rosamund Pike) demands fairness and respect from all those in her courtroom. She is a woman, a judge, and a mother. Fighting against the prejudice in a male dominated profession is a challenge in itself, yet Jess must simultaneously balance the needs of her job and the demands of her family. All seems well until a charge was raised against her son, forcing Jess into the morality and legality crossroad.  

From the team behind the multi-award-winning play, Prima Facie, Inter Alia is yet another masterfully written play by Suzie Miller. This is an exceptionally intricate narrative that explores the often-exploited holes within the current legal system. They offer protection to those who have the means to the best legal advice and undermines the credibility of the victim. Miller’s script acknowledges the obvious stereotypes and tricks used by defence lawyers, and yet also undeniable that these paint a picture that would stir up sympathy from the jury. It is neither right nor wrong to use these to the accused’s advantage; it is part of the game and the parties involved do whatever it takes to win.

An excellent play in almost all aspects, there is a point in the story in which I feel more could be fleshed out. At the point when Jess’s professionalism and judgement are questioned, the negativity seems passive and far less aggressive that it could have been. Instead, it would have been fantastic to see a more extended scene under this renewed circumstance where the defence challenges Jess in her own courtroom and how she could uphold justice, serving as a direct contrast to her confidence in the opening scene.  

Under Justin Martin’s direction, this cast of three perform in perfect harmony. Pike, at the centre of the plot at all times, delivers a phenomenal performance; first as a strong, independent feminist that is confident in her abilities; then when the time comes, oozes gut-wrenching vulnerability and hesitation. Martin and movement and intimacy director, Lucy Hind, keep Pike at the top of her game, always moving, changing and showing a new side of her character. Jess is rarely found standing still, even when listening to the debate within the courtroom, she goes back and forth between her spoken out loud deliveries and inner dialogues, masterly conveyed through the use or the absence of a handheld microphone.

However, Jess is also keenly aware of her role as a wife and mother, nurturing her husband’s ego and caring for the needs of her teenage son at home. Her roles are distinct and yet become more blurred as time progresses. The set and costume designed by Miriam Buether conveys precisely this merging of roles and the impossibility to keep these distinct from the other. The set merges between the courtroom and Jess’s home, even the judge gown she dons is replaced by a judge gown patterned apron.

Though Pike is irrefutably the powerhouse of the show, she is well supported by two cast members, Jamie Glover as Jess’s husband, Michael, and Cormac McAlinden as Harry, Jess’s son. Straying from the meticulously crafted character that is Jess, the interaction between her and her family adds a more human, chaotic and complex layer to the show. This serves as the trigger and the stimulant to draw out the buried emotions within Jess’s character and serve as the focal point of the conflict and hypocrisy that she must address to move forward with her decision.

Though Aristotle would argue that the law is reason, free from passion, Inter Alia challenges this very foundation and concept. This meticulously written play highlights the difficult decisions between the desire to do what is right for others and what is right for your own family, exploring the duality of emotion and order, morality and legality, especially when the two are in direct conflict.

Creatives

Writer: Suzie Miller

Director: Justin Martin

Music Director: Nick Pinchbeck

Movement and Intimacy Director: Lucy Hind

Set and Costume Design: Miriam Buether

Lighting Design: Natasha Chivers

Sound Design: Ben and Max Ringham

Video Design: Willie Williams for Treatment Studio

Composers: Erin Lecount and James Jacob PKA Jakwob