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Theatre Review: Witness for the Prosecution

Joy Watters reviews a production with 'excellent performance' that give the production 'the power it requires'.

Director/designer Kenny Miller’s production of the Agatha Christie courtroom drama is shot through with style. The performances, the look and sound of this revival inject the famous whodunit with new life.

The Queen of Crime adapted her own short story for the stage, premiering in the early 1950s. It is no mere murder mystery but is underpinned by Christie’s acute observations on societal prejudice, sexism, xenophobia and the workings of the law itself.

It tells the tale of Leonard Vole, who is accused of murdering a rich elderly spinster for her money. Ewan Donald brings a blend of insouciance and boyish charm to the role, leaving a question mark hanging over his guilt until the final minutes. He is clearly no gentleman, however, as he sports white socks.

Leonard turns to top QC, Sir Wilfrid Robarts (Tony Flynn perfectly encapsulates the pomposity and power of top counsel) to defend him in the murder trial.

His wife Romaine is, whisper it, a foreigner. Irene McDougall is in fine form as the steely German who masks her true intent. Romaine makes the shock decision to give evidence not in defence of her husband but for the prosecution.

The action opens in the cramped grey QC’s chambers where the lawyers discuss the case, airing their prejudices about the protagonists.

The stage is then fully revealed as a vast courtroom from where the audience is addressed as the jury. The trial, longueurs and all, is accurately portrayed while satirising the niceties of legal argument. A few off-the-wall witnesses introduce some light relief.

The verdict is not the end of the matter, and it is back to chambers for a quick-fire denouement. Blink and you will miss it.

The excellent performances of the now twelve-strong ensemble give this big production the power it requires.

Run ended.

Tags: theatre

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