Archive for the ‘Gallery Update’ Category
Posted by admin on May 05, 2023

Jodie attended the  76th Annual Tony Awards Meet The Nominees Press Event held in New York yesterday! Photos of her attending the event have been added. Enjoy!

Posted by admin on May 05, 2023

New York Times-The actress hopes that the production will continue to generate discussions about sexual violence, and noted the amazing reaction.

That Jodie Comer should be nominated for her role in Prima Facie, which has already earned her Laurence Olivier and Evening Standard Theater Awards, should not come as a surprise to anyone. Except, apparently, Comer herself.

“I’m in shock ,” she said from a taxi on Tuesday morning.

In Prima Facie, which also received nominations for Best Stage Design, Best Lighting and Best Sound, Comer plays Tessa, an ambitious young lawyer whose world is turned upside down after she is raped by a colleague. With pity, sensuality, and genuine emotion, Comer reenacts this attack and its aftermath 8 times a week, standing on stage in the rain (usually, though not always, warmed up by the backstage crew) while Tessa tries to take a fresh look at her life and existing laws.

Comer hopes the play will continue to spark discussions about sexual violence and that her nomination will benefit the many women she is trying to impersonate. Below are edited excerpts from our conversation.

What do you feel?

We’ve come a long way with this piece – I never thought we’d get to this point. So it’s an incredible feeling. The overall response has been amazing and I am very, very grateful that the work of so many team members has been appreciated. I can’t emphasize enough just how much team effort was put into this production.

That evening, when I was watching the performance, I heard some of the audience crying at the very end. Does the local public react differently than the London public?

The only difference, in my opinion, is the mood. But given how global the topic itself is, the reaction was very, very British. Many people have sent us backstage letters telling us about their experience of watching the play and how it affected them. We were also contacted by people who managed to see the play both in London and on Broadway to share how their lives had changed over the past year. Therefore, there is a feeling that we can have the same conversation here.

Your nomination is clear proof of the production’s stunning debut on Broadway. But given what the play is about, do you think the nomination means a lot more?

I hope so. There are so many people in this world that I am grateful for their existence and that I represent. This nomination should speak not only about me.

What’s the fun in playing Tessa despite what happened to her?

In the whole production, I love the journey that Tessa is going on. The evolution of this woman, even in a truly difficult period, her sense of self, strength and resilience – this is what I am delighted with. She emerges from the current situation definitely changed, but definitely not defeated. Tessa is still hopeful. We get a lot of messages in the spirit of “I felt broken, but at the same time inspired.”

Posted by admin on April 10, 2023

The actress often plays women defined by their mastery. In “Prima Facie,” she takes on her toughest role yet: a lawyer who defends men accused of sexual assault.
When the actress Jodie Comer first read the description of Villanelle—the assassin and antihero of the spy series “Killing Eve”—she responded with dismay: “How naked is she going to be?” She imagined catsuits and stiletto heels. Instead, she found herself in brocade Dries Van Noten suits and custom-dyed Chloé—a dandy psychopath, a huntress, who never sacrifices style for efficiency when dispatching her victims. She strangles one with a necktie, kills another with poisoned perfume, and sparks a very understandable erotic fixation in the M.I.6 agent (Sandra Oh) on her heels. Even as the script sagged in later seasons, Comer’s command remained absolute. She garnered a small shelf of awards and handled success with a total lack of pretense. “Our show doesn’t have a huge message to the world,” she said with cheerful bluntness. “That’s probably why people enjoy it so much.”

Comer has followed “Killing Eve” with “Prima Facie,” a one-woman show that is all message—and which features her most revealing role to date. Comer plays Tessa, a scrappy barrister who excels at defending clients accused of sexual assault, and who finds her faith in the law unravelling after being raped by a colleague. The script was written by Suzie Miller, an Australian playwright and former barrister, who felt that the system was rigged against victims of sexual violence. For almost two hours, Comer devours the stage, scarcely seeming to breathe. She brings to life every member of the court, as well as the innate kitsch of a trial and its rituals. She leaps on tables, zips through costume changes in front of us, and hauls around furniture to create her own makeshift sets: a pub, a police station, a room of horror. Following a sold-out, award-winning run in London, the play opens on Broadway this month.

On a recent Saturday, I met Comer at the Whitney Museum. Rain all morning. Outside, I watched a pigeon shake itself out like a dog. Comer, who had just celebrated her thirtieth birthday, arrived wearing a floor-skimming, belted black coat and trainers, hair tucked under a slouchy hat, a hotel umbrella under her arm. She was bluff, friendly, determined to enjoy the professional obligation. “Eight floors?” she said, looking at the museum map. “Impressive.” Waiting for the elevator, she let her hip bump gently into mine.

Where do we begin? I asked. What does she like to look at?

“People,” she said. “Women or their bodies.”

For two hours, Comer and I admired the women of the Whitney. Gaston Lachaise’s towering bronze nude. A portrait of the museum’s founder, Gertrude Vanderbilt Whitney, reclining on a sofa in a blue blazer and sea-green trousers. Look, Comer said, calling me back to the nude. “Her foot.” The huge body was perched on improbably small, arched feet—all that power, banked in the rounded hips and thighs, suddenly so precarious. Later, again: look. “That color.” An Edward Hopper painting of a woman in a red dress and red hat. She was lovely, wary, curiously proportioned, her breasts painfully lopsided. “Well,” Comer said, “Y’know, sometimes that happens.” Then she showed me what I had missed: “Her arm is squashing that one.”

Comer is an avid, beady noticer, with a preternatural ability to block out the fact that she herself is being noticed, almost constantly. Fans approached in various states of disarray. One was so overcome that he could sustain only moist eye contact with me, thanking me effusively for my work. (I was gracious.) Comer handled tears and requests for photographs with a kindly reserve, effortlessly picking up the thread of our conversation. She was still thinking about an Alice Neel retrospective that she had seen, in London, that felt like a vast family album. Neel called herself the collector of souls. Comer loved her way of painting hands as elongated and distinct—so like her own—and as “always doing something.” And the unfinished edges! “You could always see where she started,” Comer said. Those unpainted corners, she went on, seemed to tell us, “This is how I got here.”

See that foot, that blue, those busy hands. These are, perhaps, Comer’s own traces, her own admissions of how she gets there. More than once she told me that she is untrained—no acting school, no Stanislavski technique. Since she began working, as a teen-ager, she has found her way instinctively to her characters, through their bodies and through her own. She tries to locate their source, their “source energy.” For cerebral Villanelle, the source was in the head, the brow. For preening, strutting Tessa, it’s all in the chest. Comer showed me, squaring her shoulders and raising her chin. I watched Tessa arrive.

That kind of arrogance can be delicious in a woman, Comer said, over tea in the museum café. (“That’s a good tea bag,” she added. Tea in America has been an abiding disappointment.) If Neel regarded herself as a collector of souls, Comer looks at the gallery of women she’s played—Villanelle, Tessa, Marguerite in Ridley Scott’s “The Last Duel”—as visitations, all come to teach her something. With Tessa, however, there is something cuttingly personal. “I know where she’s from,” Comer said. “What she’s had to do to get where she is.”

In the rehearsal room of “Prima Facie” hangs another wall of images, mostly of women and girls. They are the photographs Comer has collected to conjure Tessa. In one, a woman draws a mustache on herself—Tessa going to court, Comer explained, “thinking of what she has to become.” A blank-eyed woman in an embrace—Tessa after the assault. There are photographs of a man’s wrist encircled by a heavy watch, photographs of Liverpool in the nineteen-nineties, street kids mugging for the camera. Tessa has scrabbled out of a loving, brawling world, catapulting herself to Cambridge to become a star barrister. Her mother, she tells us, cleans offices like the one she works in. Her vigilance—her awareness of being scrutinized, assessed, dismissed—has become a kind of superpower, an acute understanding of judgment and persuasion. She is a connoisseur of contempt, a human barometer of doubt—not that she seems to possess any herself. The law is blood sport for her, but behind it is righteous pride. “Prosecutors, you work with the police. You say you are fighting for justice. You are fighting for jail time,” she says. “It’s our job to find holes in the case, to protect society.”

At the center of the wall is a photograph of Comer as a girl—a large cast on her leg, grinning as she sails down a slide. (“I peaked,” she said, wryly.) To think about Tessa at her freest, Comer gave her the gift of her own childhood. The actress’s “source energy” seems to arise from this place—the Liverpool suburb of Childwall, where her mother is a transport worker and her father is a physical therapist for the Everton Football Club. The parish priest still sends letters to Comer’s family, reflecting on each of her roles. (On Villanelle, he’s spoken “about the depths he feels I would have to go to in order [to] understand why a person would be like this,” Comer said.) She spent much of the pandemic back home, playing badminton with her brother over the washing line. “We were like kids again, having to knock at the neighbor’s door, like, ‘Can you throw the ball back over?’ ”

One of Comer’s first proper roles came at twelve, for a monologue at a school talent show. She played a child who had lost her father in the 1989 Hillsborough tragedy: a stampede, during a Liverpool football match, that killed more than ninety people. When her name was called, Comer found herself already in tears; the emotion was bewilderingly easy to access. She had something powerful inside her, her drama teacher said, and she needed to learn to harness it. (In “Killing Eve,” Villanelle’s former handler gives her a strikingly similar speech.) Bit parts followed, in radio plays and “Law & Order: UK.” Comer worked the weekend-morning shifts at Tesco, “hungover 99.9 per cent of the time.” In lieu of formal training, she cribbed Villanelle’s facial expressions from her mother, and developed a facility with accents by imitating advertisements with her father. She remembers his face, awed and proud, the first time he saw her perform. “I’m always chasing” that face “in some way,” she said.

Comer invokes her family with an insistence that begins to make sense when one realizes how often her background was seen as a liability. Although she worked steadily, there were fallow periods. Casting directors were incredulous at her Northern accent. Theatre was impossible to break into; she was not educated enough, she was told, not trained. When she started out, she wanted to be Keira Knightley, to wallow in big frocks and yearning. Instead, she has become known for characters marked by their mastery—a mastery acquired in private, at cost, and intended as a kind of armor. Onstage, when Tessa speaks, in her strong Scouse accent, of being patronized, of desperately counting on her vigilance and nice manners, on her brilliance and ambition to prize open the doors so intent on keeping her out, Comer’s fury is electrifying.

 

The London dress run of “Prima Facie” was plagued with problems. At one point, when Tessa changes clothes onstage, Comer got her head stuck in a shirt. But the previews indicated something special at work. In the last fifteen minutes of the play, Tessa speaks directly to the audience. A woman in the front began to cry, making deep guttural noises. “It was like little lights going off all over the theatre,” Comer recalled. “It was spreading. It was as if people in the audience were giving each other unspoken permission to feel.”

Of course, it is Tessa who grants the permission. Standing at the front of the stage, she points into the audience: “I see all the women who came before me, all the women who will come after.” Her bluster is gone. She is no longer the star defense lawyer but the victim, humiliated by taking the stand and withstanding the very interrogation techniques that she once deployed with pride: the suggestion of inconsistencies in memory, of ulterior motives influencing the rape accusation. “In all of my professional life, I have participated in a system that has done this to women, and now I know it is not right,” she says. “If the women’s experience of rape is not as the court would like it to be, then we conclude she is prone to exaggeration.”

The play wavers at the end, unsure where to send the shattered Tessa. Lines curdle into cliché: “I am broken, too, but I’m still here, and I will not be silenced”; “Somewhere, somehow, something has to change.” But Comer always seems to shine when scripts struggle—screenwriters from Phoebe Waller-Bridge to Matt Damon praise how she sees the character beyond the page. Here, she does something interesting. She does not fight the clichés but leans into them, lets us feel Tessa reach for them, choose them—what else can she say? As she speaks, her hands hang at her sides, grasping at air. She seems shorn of language, of certainty, suddenly doubting everything but herself.

Comer began hearing from women almost immediately: women who had recognized something in their past, who were on the verge of leaving the law but now saw a reason to persist. The dynamic is woven into the action of the play—the way the house lights come on at the end, enabling the audience to see one another, to see themselves, and to see Tessa, who draws near and says, “There was a time, not so long ago, when courts like this did not ‘see’ nonconsensual sex in marriage as rape, did not ‘see’ that battered women fight back in a manner distinct from the way men fight.” How, she asks, can we unsee what we now know?

Recently, watching a recording of the play, I found those lines nagging at me. I called Comer. Broadway rehearsals had begun, and her voice was different—slower, assured. She was struck by how rare it is for an actor to return to familiar material, to infuse it with what they now know. I asked her what Tessa had allowed her to see. I recalled how, when she concentrates, she closes her eyes and taps between her brows. She seemed to be doing that now. She responded, “I have nothing to prove.”

 

 

Posted by admin on April 06, 2023

Jodie was on the Late Late Show, photos of her arriving & screencaps of her Interview have been added, enjoy!


Posted by admin on April 04, 2023

Jodie Comer became a household name after starring in Killing Eve, scooping multiple awards—including an Emmy and a BAFTA—for her portrayal of Villanelle in the series. At the Olivier Awards on Sunday night, the star added another statue to her trophy cupboard, picking up the Best Actress gong for her West End debut as a conflicted young barrister, Tessa, in Prima Facie.

 


“This was a really significant moment in time for me, and I wanted a dress that would make the occasion all the more memorable,” says Comer who, with the help of her stylist Elizabeth Saltzman, picked a sculptural poly faille dress for what would become her winning night, from Alexander McQueen’s most recent fall 2023 collection.

The actor serendipitously came across a quote once said by the house’s late founder, Lee Alexander McQueen, on Instagram as she was deciding what to wear for the ceremony. McQueen once said he designed clothes because he didn’t want women to look “all innocent and naïve”. “I don’t like women to be taken advantage of,” the designer said. “I don’t like men whistling at women in the street. I think they deserve more respect… I know what misogyny is… I want people to be afraid of the women I dress.”

Comer, whose character in Prima Facie specializes in defending men accused of sexual assault, and then herself becomes a victim of assault, was instantly struck by the quote, she says. “It really resonated with me and it felt so appropriate given Prima Facie’s themes and messaging. It also felt like a little sign from the universe that McQueen was the perfect choice for my first Olivier Awards,” asserts the actor.

Saltzman, who has worked with the former British Vogue cover star since her Killing Eve days, echoes her sentiment: “McQueen has always been a brand that embraces a strong confident woman,” she tells Vogue, adding: “When anyone slips into a McQueen, you feel instantly empowered.” The moment she saw Sarah Burton’s latest collection, shown at Paris Fashion Week in March, she fell in love with Look 22, captivated by its striking red shade—a trending color to emerge on the recent red carpets and runways—and cascading ruffles.

The deconstructed trench silhouette taps into the “anatomy of tailoring” theme that Burton explored this season, which the creative director said was inspired by the beginnings of McQueen on Savile Row. “It was a progression, which starts very kind of straight and structured. And then it begins to flash and twist and turn upside down,” Burton explained. “It’s like how you begin with a garment—you have to know that there’s a way to construct it, the bones of it, before you can dissect it and subvert it.”

Posted by admin on April 03, 2023
Posted by admin on February 23, 2023

Jodie Comer attended the Burberry Autumn / Winter 2023 show during London Fashion Week, Photos of her attending can be found in our gallery!

 

Posted by admin on February 13, 2023

Jodie attended her first Event of 2023 at the What’s On Stage Awards last night! She also won the award as well! Photos have been added to the site! Enjoy


Posted by admin on November 21, 2022

Jodie Comer’s amazing Theatre performance Prima Facie has been released onto Streaming services. I have added screencaps from her amazing performance to our gallery, enjoy viewing!



Posted by admin on September 18, 2022

Hi all, I have finally added Screencaps of Jodie Comer in “The Last Duel” many thanks to Jen for kindly donating these! You can now view them in the gallery.