But Comer is the reason we’re here. Her commitment made the production happen and kept it alive through delays. We all wanted to know if she’s as good live on stage as she is on screen. And the answer is no: she’s better.
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[Jodie Comer's] personal triumph [is] somewhat mitigated by the fact that the play she’s chosen is pretty clunky. But for all Comer’s charisma, the text is stodgy, and the drama ponderous and lacking nuance.
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Jodie Comer’s West End stage debut is a baptism of fire by any standards...Comer delivers. She roars through Suzie Miller’s script. The play roars, too, sometimes too loudly in its polemic, but Comer works overtime to elevate these moments.
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West End debuts don’t come much more astonishing than this solo tour de force by Jodie Comer...But in the face of Comer’s triumphant leap into the live acting arena, I was mainly left wanting to see her on stage more; she’s in her element, and can work wonders.
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With Comer as its protagonist, blazing away, it is impossible to avert your gaze. She brings its arguments to forceful life and in the process creates an unforgettable moment of theatre.
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If the play itself remains flawed, Comer should be nonetheless be commended for putting her star power behind Miller’s campaign...Besides, Comer herself makes this unmissable viewing. It's the unveiling of a serious, and seriously exciting, stage talent.
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If it’s a great case study rather than a great play exactly, the cumulative effect is still quite something. Comer brings it to life in a way that suggests she has it in her to be a true stage great.
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It becomes polemical towards the end, perhaps to its detriment. But it’s hard to argue with Comer’s performance, which is never less than captivating and impassioned.
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