Abstract

Legal realism is a jurisprudential theory claiming that law is not a set of abstract rules but is shaped by social, psychological, and contextual factors. It emphasizes that judicial decisions are impacted by legal practitioners’ personal experiences and societal conditions. Legal realists discuss that the law in practice often diverges from its formal expression in statutes and precedents. This article examines Prima Facie (2019) by Suzie Miller through the lens of legal realism. It focuses on the play’s significant critique of legal formalism and advocates for legal adaptation to real social realities. It aims to examine the portrayal of justice in the play and how the events and characters align with the thought that different factors shape law. It shows how the play contributes to modern debates on justice and reform in legal systems. Karl Llewellyn’s theory of legal realism is central to understanding the character of Tessa, the play’s protagonist. Tessa transforms from a defense lawyer who trusts the objective legal system to a disillusioned survivor who recognizes its biases. The play shows how a legal realist view, especially in sexual assault cases, would be more related to real-world issues rather than being detached from the real needs of society. Legal realism challenges the rigidity of the legal system and advocates for a dynamic one that evolves in response to societal needs. The results show how the play exemplifies the critique of traditional assumptions and advocates for reforms that acknowledge law’s ethical and social dimensions, ensuring that justice is not a theoretical ideal but an attainable reality.