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Sunday, 1 May 2022

REVIEW: Witness for the Prosecution at London County Hall


At the risk of going out on a limb, most homes will have an Agatha Christie novel buried in a cupboard. With masterful plotting and subtle clues dropping like well-timed grenades, there are few writers who can hold the attention as well. Christie’s style lends itself to stage productions where the narrative can be distilled into key scenes. ‘The Mousetrap’ remains the world’s longest-running play. Every tourist has the show on their ‘to do’ list such is the author’s enduring appeal. Witness for the Prosecution was adapted from a short story by Christie and looks set to join the ‘appointment theatre’ club. Originally staged in 1953 it was eclipsed by the Billy Wilder directed big-screen version. Released four years later the film became a classic featuring Hollywood icons including Charles Laughton, Marlene Dietrich and Tyrone Power. 

County Hall is a magnificent building on London’s South Bank and was formerly home to the Greater London Council. Designed by Ralph Knott in the Edwardian Baroque style, a beautiful chamber emerges as the play’s setting. With an ornate finish in wood and marble, it becomes a perfect stand-in for Court no.1 at the Old Bailey. A subtle, haunting soundtrack kicks in as the lights dim and the story gently unfolds.
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Friday, 1 October 2021

REVIEW: Witness for the Prosecution at the London County Hall


The show truly begins as you enter the building. Walking into the London County Hall, you are immediately transported back in time to the early 1900s as you are immersed in the courtroom surrounded by judges and clerks. Agatha Christie’s Witness for the Prosecution - first published in 1925- has been playing at the County Hall for the last five years, but the show has not fatigued in the slightest.

Originally written as a sketch, the play is your typical murder mystery with the formalities of taking place in an old courtroom with a ‘jury’ of audience members. Young Vole (Joe Mcnamara) has been accused of murdering an older lady, Emily French, he claimed to take a fondness of. Although seemingly charming and innocent, the odds are stacked against him as we discover he has the incentive to take on her fortune and his leather-clad German wife, Romaine (Emer Mcdaid) denies his alibi. The case seems overwhelming against him, and the plot thickens as the play goes on 
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