Witness For The Prosecution - Review

County Hall, London

****

Written by Agatha Christie

Directed by Lucy Bailey

Emma Rigby

Witness For The Prosecution is a glorious fusion of classic storytelling, first class production values and top-notch acting. Set amidst the oak-panelled Edwardian Baroque of the (now disused) County Hall Chamber, the Old Bailey is recreated to host a cracking yarn of a murder mystery, courtroom drama.

At risk of spoiling, the plot will not even be outlined. Suffice to say that there is skulduggery, passion, and twists and turns that will make even the seasoned theatre-goer gasp in surprise as the story unfolds. The show is very 1950s in its style, costumes, mannerisms and dialogue – and a delight of the piece is that one does not have to think too hard. The cast deliver the narrative delightfully, and at times it is as if a film-noir is being screened in person. Such is the cynicism of our times that the script can occasionally seem a little corny – but actually, the deliciously dated nuance only adds to the evening’s charm.

Lucy Bailey has coaxed magic from her newly-installed replacement cast. Jasper Britton is Sir Wilfrid Robarts QC, opposite prosecutor and professional nemesis Mr Myers QC, played by William Chubb. Britton's Robarts is a gem – a patrician who nonetheless is acutely aware of the details of the world around him. His unravelling of the facts he encounters is fresh and vibrant, and one cannot help but grin at such a well polished turn that never once descends into pastiche.

There is fine work too from Daniel Solbe as the hapless Leonard Vole, facing the noose if found guilty, together with a perfectly poised performance from Emma Rigby as his mysterious European wife Romaine. That both Solbe and Rigby are amongst a quartet of the show's players who are making their West End debuts, speaks volumes for the current cohort of actors entering the profession.

There are smaller treats too amongst the company. Ewan Stewart plays Vole's believably gritty brief, Christopher Ravenscroft is every inch an Old Bailey judge, while Joanna Brookes’ Janet Mackenzie, the murder victim’s housekeeper, is a Scottish dour delight 

Bailey’s direction is only enhanced by William Dudley’s imaginative design. Witness For The Prosecution is a quirky, quintessentially English drama that makes for a thrilling night at the theatre.

Currently booking until 1st September

Photo credit: Ellie Kurtz

Richard II - Review

Shakespeare's Globe, London

****

Written by William Shakespeare

Directed by Simon Godwin

Charles Edwards

Simon Godwin hones his focus in on the fallible nature of authority, in a smartly paced production with plenty of humour. His Richard II is an examination of the facets of hierarchy and begs the audience to consider the true origins of power. Is the right of Kings truly a gift from God? Or is it an innate and simplistic ability to rule justly and fairly, possessed of any man willing to seize the opportunity? Therein lies the central conflict between Charles Edwards' enigmatic Richard and David Sturzaker's earnest Bolingbroke. 

Designer Paul Wills has crafted a technically intelligent set, casing every wall and pillar in a slightly decayed gold leaf. The extravagant opulence of Richard's court is immediately captured in the garishly blanket plating of every surface, yet the hidden rot of his rule is also reflected in the decay. Just as the surface of the very walls is aged and scratched, so Richard's personal façade can only last so long. Richard himself, clad as he is in light creams and further gold, often disappears into his own throne, lost in the architecture of his surroundings and blind to the threats of the more darkly clad Bolingbroke, Northumberland and Willoughby. 

As Richard, Edwards' central performance captures the glib swagger of a man raised in a form of regal captivity. We see the young boy crowned in a coronation prologue and in so doing understand Richard's inability to see beyond the needs of his immediate entourage and desires. He is not inherently selfish, simply a man told since his pre-pubescent years that his actions are the will of God. Edwards is especially strong when physically handing over the crown to Bolingbroke. The former king is reduced to a linen clad waif, not mad, simply unable to fathom the recent turn of events. Edwards delicately portrays the sickened confusion of a man who has lost his spiritual foundation. 

Godwin keeps the play motoring along and whilst a couple of actors seem to slightly rush their lines, it gives the production a sense of welcome pace and comedy. Exchanges between Richard and his courtiers are fired off with precise timing and a catty wit. These scheming felines spit snide remarks behind closed doors and in one scene cackle over some odd catwalk-like entertainment. It all feels very 'high fashion mogul'. There are also some fantastically funny set pieces that lift what could've been a rather drab second act. Sarah Woodward and William Chubb, as the Duchess and Duke of York, do fine work on their knees in a farcical squabble over their sons’ misdeeds, whilst the biggest laugh of the night came from a sequence involving as many thrown gauges as you are likely to see in a single scene. 

If the production lacks anything, it is perhaps a degree of narrative investment. Sturzaker's Bolingbroke is likeable and well acted, but lacks that enigmatic zeal that would convince an audience of his ability to rally the disgruntled Lords to his cause. Also, both the Dukes of Richard's court and Bolingbroke's eventual sympathisers lack a sense of individual identity. They blur into a mass of camp malevolence and haughty aggression respectively, which robs the play of a sense of character depth. 

This aside, Richard II delivers in terms of a charismatic central performance from Edwards and a slick sense of pace throughout. Godwin's direction has clarity and his deft touch for the light-hearted encourages the audience to find humour in the pomp and reverence of sovereignty, as well as pity for a young boy King doomed by ideals thrust upon him.

Runs until 18th October

Guest reviewer: Will Clarkson
Photo credit: Johan Persson