Prima facie

PRIMA FACIE A riveting account of the search for justice in a legal system that tends to turn a blind eye to rape, and an extraordinary solo opportunity for actress Maria Štípková. The confession of a young defence lawyer focuses on how much subjective experience can differ from what she perceives to be the reality of justice. This dynamic courtroom drama gives an insight into the lawyers’ tactics and examination techniques that are often used to exonerate men accused of rape. It is also the personal story of a woman who, despite knowing the rules of the game, suddenly loses faith in justice.

Director Lucie Ferenzová sensitively translates the complex range of emotions associated with this powerful topic onto the stage with simple but powerful images. The heroine’s consuming helplessness is conveyed by a fierce drum solo (played live by Markéta Ptáčníková). The costume, with its exaggeratedly padded shoulders, creates the image of a woman who desperately wants to appear strong even as she is losing her grip on who she is. The production maintains the rhythm necessary for a monodrama to keep its momentum without losing its urgency. (...) The transition [of Marie Štípková] from an unsympathetic, arrogant lawyer to a desperate victim with whom one cannot help but sympathise is astonishing. You find yourself wondering how it is that one moment you want to punch Štípková’s Tessa in the face and the next you want to give her a warm, loving hug. You don’t know how, but you believe her every word, every cheeky grin, every tear. At first glance it is mainly an appeal, yet one that avoid exaggeration or the urge to preach. In the Czech Republic, a redefinition of rape has been discussed for some time (see e.g. what NGOs such as Konsent are doing). Perhaps a trip to the theatre would help some lawmakers realise that – as Štípková says at the very end of the production, with a sense of resounding urgency in her voice – something really does need to change.
– ELIŠKA HANKOVCOVÁ, Nadivadlo

Even though the audience knows from the beginning what is going to happen (Miller’s play is linear and highly predictable), the audience are in for a gripping evening. [...] Marie Štípková as Tessa gives a physically and psychologically exhausting and fully authentic performance clearly deserving of an award next year. In the opening, she captivates the audience with the temperament of her character, who is on the rise in her career. She then leads them through almost physically uncomfortable moments as she describes the rape and then her doubting feelings, the creeping shame, the remorse and the trip to the police. The dense atmosphere, building up about halfway through the evening by depicting the most difficult moments, is not lost until the final trial. Štípková is helped by Ferenzová’s sensitive direction and clever ideas. The atmosphere is livened up by live drums and the vocals of Markéta Dvořáková Ptáčníková, who occasionally enters the stage to play a minor role. At the beginning of the evening, Štípková stands in front of the audience in a uniform that displays her professional stubbornness. However, by the end of the evening, the same uniform suffocates and outgrows Tessa, making her look completely insignificant as a victim seeking justice.
– TOMÁŠ ŠŤÁSTKA, MF Dnes

LUCIE FERENZOVÁ (*1981) graduated in Czech Studies at the Faculty of Arts of Charles University and in directing at DAMU. In 2010–2014 she worked as a dramaturge and director at Theatre on the Balustrade. She founded the theatre company Kolonie, with which she regularly stages adaptations of contemporary literature (e.g. Lucie Faulerová, Bianca Bellová, Sally Rooney and Elfriede Jelinek). She is currently the in-house director of the Prague A Studio Rubín, where she stages original texts (e.g. Rules of Cleaning, Chasm) together with Dagmar Fričová. She currently produces plays for children at the Polárka Theatre in Brno, where she directed a dramatisation of Frida Nilsson’s book The Ape Star. She also writes fairy tales for Kolonie and is the author of Lake Jungle, a children’s play produced for Czech Radio. Lucie Ferenzová is also a director, author, dramaturge and acting artistic director of A Studio Rubín. She has previously collaborated with X10 Theatre, D21 Theatre, NoD Theatre, DJKT Pilsen, Municipal Theatre in Most, KOMEDIE Theatre, LETÍ Theatre, HaDivadlo, and others.

ŠVANDA THEATRE IN SMÍCHOV continues the long tradition of previous theatres in the same building. Drama is performed on two stages, in the Main Hall and the more chamber-like Studio stage. In terms of repertoire, the Studio stage focuses on current social issues and taboos, while the main stage presents canonical classics alongside contemporary works in distinctive interpretations by strong directors. The theatre’s major activities include programmes for children and young people. Švanda Theatre is actively seeking international collaborations and “exports” Czech drama abroad. It is expanding its activities in the new space of Eliška Pešková’s Creative Centre, which has been operating in co-operation with Švanda Theatre since September 2023. The centre offers a wide range of workshops and seminars for people of all ages, individuals and groups, and provides a space for children’s drama activities.