‘transfixing production that certainly cast a magical spell on the audience’
Agatha Christie plays are almost impossible to write about because the audiences are sworn not to reveal anything, which creates a challenge in writing a review of this intricate production that follows Leonard Vole (JD Justice) who has been accused of killing a widow: only time will tell whether he can convince the jury that he is an innocent man, in a court presided over by Mr Justice Wainwright (David Tolcher), court clerk (Julia Gallagher), Usher (Harry Brown), Stenographer (Phyllis Brighouse), and Warder (Heather Luna).
A classic whodunnit, we meet all the characters connected with the case and learn their motives and thoughts while we try to solve the case in our own minds, although the case against, presented by Ms Myers QC (Adam Dunlop), seems overwhelming: Vole astutely befriended the rich old lady who was the victim, inherited all her money, and on the night of the crime was seen with blood on his clothes.
Can the defence team led by Sir Wilfred Robarts (Gareth Crawshaw) and Mr Mayhew (Mike Hunter), aided by clerks Greta (Samantha Haddock) and Carter (Tolcher), fare any better as they try to discredit the testimony of Inspector Hearne (Lee Patterson), Dr Wyatt (Peter Hennessey), Mr Clegg (Chris Clinton), and housekeeper Janet Mackenzie (Linda O’Brien)?
But when Vole’s German refugee wife Romaine (Charlotte Holguin) becomes the titular character of the piece, you have to wonder whether his days are numbered or whether another woman (Gabriela Hyde) may hold the key: we, the audience, make up the jury along with a Jury Member (Sam Robinson) and a Foreman (Hyde): what will we decide?
Co-directors Marc Smith and Fiona Williams have much to be proud of with their transfixing production that certainly cast a magical spell on the audience. Although it is a long opening half at over ninety minutes, it is with credit to the creative team that it flew by, with good all-round performances from the cast. There are several minor roles, and it was pleasing to see them remain focused and in character throughout.
The play’s appeal lies not only in its mystery but in its courtroom formality which reminds us that the law itself is a theatrical ritual right down to the period-perfect dressing up in this production overseen by a wardrobe team od Anna Kalopsidiotis, Tanya Wood, and Cathy McNally which sits as the ideal accompaniment to some strong staging which alternates seamlessly between courtroom and chambers under the stage management of Mary Clinton. The overall effect is completed with Curtis Wilson’s sound design and Georgie Grigan-Morrell and Smith’s lighting arrangement.
There were strong performances from Justice, Tolcher, Patterson, and O’Brien, with a special mention to Haddock who, in a supporting role, came close to stealing her scenes. Dunlop was impressive whilst Crawshaw excelled throughout and I particularly enjoyed his interplays with Hunter who was in equally good form. Holguin brought all her experience and natural ability with a clever portrayal of Romaine that ensured that the inevitable twist in the tale that Christie plays are famous for was well and truly delivered, with the ‘oohs’ and ‘aahs’ emanating from the audience testament to a job very well done.
Agatha Christie’s Witness for the Prosecution performs through to 6th June with tickets available at https://www.carltonlittletheatre.co.uk/whats-on/
Although this is the final production of the season, there are lots of exciting events coming up ahead of the next season which starts in November with Cluedo. For further details https://www.carltonlittletheatre.co.uk/whats-on/
Review Date: 3rd June 2026
Star Rating: FOUR