Agatha Christie’s ‘Witness for the Prosecution’, is more than just a play. The whole experience contributes to the theatrical evening. As if courtrooms weren’t theatrical enough, this production has been summoning audiences since 2017 and has left them amazed, conflicted and all round entertained with a fascinating evening.

The location itself is remarkable. London County Hall was home to the local government for 64 years. The Neo-Baroque chamber in which the drama takes place, engulfs you in the story of the trial, as the imposing marble pillars and illuminated statue of Lady Justice stand stoic watching the events unfold. The entire evening is plagued with intrigue, as from the moment you arrive you are met with not only a historic building but you can spot clerks, judges and other courtroom workers meandering between rooms in white wigs and robes much like they would do in a real 1953 court.

Adapted from Christie’s 1925 short story, Witness for the Prosecution follows one Leonard Vole accused of the murder or Miss Emily French and elder lady (50 years old… I know) to whom he’d become acquainted (not like that). Much like her other, wildly successful ‘whodunnit?’ drama ‘The Mousetrap’ this play is also riddled with speculation and I am confident that every spectator embarks on a journey of constantly switching back and forth between guilty and not guilty throughout the events of the play. All leading to a twist no one could predict.

The ageing of the play still brings about very modern topics, such as the discussion of class and gender biases, pretty privilege and the belief of a judicial system only being as “robust as the people who uphold it”.

The touch of having audience members as the jury, whom are given notepads and are addressed to speak and give a verdict is delightful. It is the perfect blend of being in court and being at the theatre.

Aside from the overtly stunning chamber, the set itself is remarkable. The looming sequence to open the play definitely sets the tone and designer William Dudley has done a brilliant job along with lighting and sound designers Chris Davey and Mic Pool to create such atmosphere and significant shifts between scenes. A personal favourite is the soundscape of audible gasps heard throughout the chamber upon hearing certain pieces of evidence to truly immerse you in a real courtroom but also inform you of the general consensus of what people found shocking or not.

Oliver Boot gives a formidable Sir Wilfred Robarts Q.C. and is most definitely a stand out of the show. His strength and gravitas is something to behold on stage. The rest of the cast were undoubtedly strong and most definitely serve their roles within the story. George Jones gives a boyish charm that is inline with people wanting to “mother” Leonard Vole, while Meghan Treadway gives a certain cunning and mystique to Romaine Vole leaving you unable to know whether to trust her or not.

Overall thanks to Lucy Bailey, the cast and creatives and the glorious London County Hall, the renewal of this show is a triumph.

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