Witness For The Prosecution Review (London County Hall)

17 July 2025 I 14:30 I London County Hall

⭐⭐⭐

Agatha Christie's gripping crime novels and plays have shocked the nation for decades, with the West End's The Mousetrap boasting a near 75-year continual run. Staged in the ageless London County Hall, Christie's script is curated for a site-specific performance, audiences and actors sharing a used courtroom space. The idea itself is ingenious, although Lucy Bailey's direction is critically weak. It does what is expected, yet a slightly materialistic, dated production relies too heavily on location to thrill.

The venue itself it marvellous, mesmerising to watch a piece of theatre as if witnessing a period trial at London's Old Bailey. Even the expensive seats challenge twelve lucky individuals to perform as the Jury, determining the verdict of the accused.

Finding myself seated front row of a thrust stage, a series of set pieces and towering performers can lead to restricted views and neck strain, yet the immersive characteristics of this staging outweigh these minor faults. The natural acoustics of the hall are terrific as shocking revelations hit the courtroom. However, Mic Pool's underlying sound designs of gasps and murmurs are unnecessary in creating fictitious reactions. The room is filled with a live audience, often overcompensating for awkward silences.

Harry Chandler delivers a noble performance through Leonard Vole, lending an uneasy and disturbed identity to the accused. Consistently hyper-aware of his stage presence, considering that the focus often shifts from Leonard, his responses to the action are genuine and generously empathetic for audiences.

The majority of the story takes place observing the trial, where occasional changes in location see Chris Davey's lighting designs transport us away from a static venue. A visually impressive stage image welcomes a hazy, discoloured waterfront as a site for dodgy dealings. This darker visual move brings a stronger engagement to Act 2 to prevent a repetitive fatigue.

Christie's script has some highly commanding moments, although rooted in the Council Chamber, the reality of observing a murder trial can be draining. And despite a smaller list of suspects in comparison to The Mousetrap, interval conversations have everyone, myself included, excitedly suggesting their theories. With an ill-cohesive final reveal, you enter this production anticipating a courtroom drama, and the take away is little more than that.

A mighty delivery from Jonathan Firth as defence barrister Sir Wilfred Robarts maintains a confident stride. With a well-developed vocal texture, his lengthy monologues and accusations never tire, giving life to the judicial proceedings.

With her signature beret, Charlotte Beaumont is captivating in her enigmatic performance style as Romaine Vole. Her exaggerated accent is startling upon entrance, leaning into foreign European stereotypes. In the instance that Romaine's accent becomes scapegoated in early 20th century England, a heightened accent can be successful in providing commentary on such standards.

As one of London's non-traditional theatre experiences, Witness For The Prosecution is a middle-of-the-road adaptation that, alike its setting, occasionally undertakes a wooden and monotonous tone. The sovereign glory of London County Hall more than lives up to its expectations, and I could recommend this generally well-received production for those seeking an alternative to the flashy West End musical.