Running in the majestic surroundings of The Chamber at London County Hall since 2017, Agatha Christie’s Witness for the Prosecution is certainly a spectacle. Audiences are transported back in time, immersed in a trial to which they themselves also feel like witnesses to the prosecution. 

Played largely in the round, the production does a fantastic job of including each audience member and reaching each corner of the grand space. Four doors are used around the circular courtroom, with ensemble members dressed like house movers to bring in props and decorations, with beautiful design by William Dudley. Scenes outside the courtroom are played within the middle section of the court, between the gallery and the witness box. This creates an amazing sense that the story of the murder is being lived out within the confines of the courtroom itself. It ensures that our minds are never too far from the matter at hand.

Often a demanding ask of actors, Owen Oakeshott as Sir Wilfrid Robarts Q.C., Peter Landi as Mr Mayhew,  and Richard Teverson as Mr Myers Q.C. shine in this space. They ooze gravitas throughout, constantly demanding our attention. Every word feels organic, as though they really are advocating for their clients in a real-life courtroom. Witty lines are delivered with excellent timing by James Hayes (Mr Justice Wainwright) and Matt Weyland (Inspector Hearne) with both giving strong, impressive performances. Throughout the intense and gripping story, Lauren O’Neil as Romaine Vole brings intrigue and comedy, commanding our attention, and owning the stage. Although her accent drops at times, she plays humour and anguish with great skill, grounded in the desperation of the situation. 

In a few cases, the performances seems less organic but rather like actors are waiting for one another to finish their sentences. Joshua Glenister, playing Leonard Vole, really comes into his own in the second act but at times his emotional performance feels forced and as though he is reciting his lines rather than reacting to his fellow actors onstage. That being said, he does justice to a demanding role. Similarly, Mandi Symonds as Janet Mackenzie does a great job of providing comic relief but at times her anguish feels a little overdramatic. The gravitas, situation and tragedy of the story might have been more effective if played more naturalistically.

A mention must be given to the music and sound effects. Mic Pool (Sound Designer), Ian Allaway (Technical Manager) and Emily Coley (Deputy Technician/Sound No.2) do a fantastic job heightening the already tense atmosphere. Music and drone ads foreboding to the story as it unfolds and thoroughly immerses the audience in the world of the play. Technically, the entire performance is impressive and credit must be given to the whole team. The venue, sound and lighting are the real stars of the show and bring the show to life. 

Witness for the Prosecution is a memorable experience and a must-see for visitors to London. Transitions are slick and performances are strong but perhaps could have benefited from being more grounded within the gravity of the trial and the situation. If you’re local and feel like being a tourist in your own city then it’s also definitely one for the list; it’s like sitting in an awesome slice of history and you won’t be disappointed.

*** Three stars

Reviewed by: Eliza Harris

Witness for the Prosecution is currently booking until 25 September, with tickets available here.