Witness for the Prosecution

Witness for the Prosecution



From 19th November 2019

Alexander Guelff - Romaine Vole 


Taz Skylar - Leonard Vole 


Jo Stone-Fewings - Sir Wilfrid Robarts QC


Kevin McMonagle - Mr Myers QC 


Jeffery Kissoon - Sir Justice Wainwright 


Crispin Redman - Mr Mayhew 


Timothy Harker - Carter/Dr Wyatt


George Howard - Clerk of the Court 


Vivienne Smitht - Greta/Dr Clegg 


Amelia Annowska - The Woman 


Tom Shepherd - Warder


Jane Lambert - Janet Mackenzie 


Owen Oakeshott - Inspector Hearne 


Craig Talbot - Policeman/Plain Clothes Detective


Mark Grindrod - Solicitor


Cathy Walker - Stenographer





Agatha Christie is known throughout the world as the Queen of Crime. Her books have sold over a billion copies in English with another billion in foreign languages. She is the most widely published author of all time and, in many languages, outsold only by the Bible and Shakespeare. She is the author of 80 crime novels and short story collections, 19 plays, and six novels written under the name Mary Westmacott.

Agatha Christie’s first novel, The Mysterious Affair at Styles, was written towards the end of the First World War, in which she served in the VAD. In it she created Hercule Poirot, the little Belgian detective who was destined to become the most popular detective in crime fiction since Sherlock Holmes. It was published by Bodley Head in 1920.

In 1926, after averaging a book a year, Agatha Christie wrote her first masterpiece. The Murder of Roger Ackroyd was the first of her books to be published by Collins and marked the beginning of an author-publisher relationship that lasted for 50 years and well over 70 books. The Murder of Roger Ackroyd was also the first of Agatha Christie’s books to be dramatized –under the title Alibi –and to have a successful run in London’s West End. The Mousetrap, her most successful play of all, opened in 1952 and is the longest-running play in history.

Agatha Christie was made a dame in 1971. She died in 1976.

Agatha Christie Ltd. was founded in 1955 and has promoted and administered her work under her direct control and that of her family ever since.  The company is based in London; the Chairman is the author’s great-grandson, James Prichard. www.agathachristie.com 



 Recent productions include: The Graduate (West Yorkshire Playhouse); Milton’s Comus, with additional material by Patrick Barlow, (Sam Wanamaker Playhouse); and Kenny Morgan (The Arcola).    Lucy was co-founder and co-artistic director of The Print Room (2009 – 2012), a new venue in Notting Hill Gate. Shows she directed include: Fabrication, Snake in the Grass, Kingdom of Earth and Uncle Vanya. Lucy was co-artistic director of the gogmagogs (1995 – 2007) a music theatre company comprising seven string players. Lucy studied English at Oxford University where she directed the world premiere of Lessness by Samuel Beckett in consultation with the author. Previous work for Shakespeare’s Globe: Titus Andronicus, Macbeth, Timon of Athens, As You Like It and The Maid’s Tragedy. Other theatre credits include:Great Expectations (West Yorkshire Playhouse); Around the World in 80 Days (St James Theatre, London); Gaslight (Royal & Derngate Northampton); The Importance of Being Ernest(Harold Pinter, West End/UK tour); Fortunes Fool  (Old Vic); King Lear(Theatre Royal Bath); The Winter’s Tale, Taming of the Shrew, Julius Caesar(RSC/ Roundhouse  /The Armoury, New York); Beggar’s Opera (Regent’s Park Open Air Theatre); Private Lives, Glass Eels, Comfort Me with Apples(Hampstead Theatre); The Night Season (National Theatre/West End) and Don’t Look Now (Crucible, Sheffield/Lyric Hammersmith). Opera/Music Theatre credits include: Gudrun Fier Sang (Copenhagen dry dock); Jenufa (English National Opera); Cheryoumushki 1958 (Lyric Hammersmith); Noyes Fludde, Triptych, Mary of Egypt (Aldeburgh Festival) and Pasolini’s Teorema (Maggio Musicale Florence/Munich Biennale/Queen Elizabeth Hall).



William Dudley’s distinguished career as a designer of theatre and opera has been recognised with seven Olivier awards and a further seven nominations. He won a BAFTA for Persuasion.  In April 2015 he won the Molière Award for Visual Creation for The Dance of the Vampires in Paris. He has designed over sixty productions at the National Theatre, including The Mysteries, Coast of Utopia and The Rise and Fall of Little Voice. At the Royal Court he designed Hamlet, Kafka’s Dick and Hitchcock Blonde (Oliver Award). Work at the RSC includes Julius Caesar  (also New York), Merry Wives of Windsor (Olivier Award) Twelfth Night, Richard II & III and A Midsummer Night’s Dream. West End productions include The End of the Rainbow, All My Sons, Woman in White, My Night with Reg and Lenny, with many transfers to the USA. Recent work includes Comus at the Sam Wannamaker Playhouse; Ross, The Rehearsal and For Services Rendered at Chichester; Gaslight for Royal and Derngate; The Importance of Being Earnest West End and UK tours, Fortune’s Fool at the Old Vic, Titus Andronicus at Shakespeare’s Globe, and Fings Ain’t Wot They Used T’Be at Stratford East. Dudley designed the sets for Roman Polanski’s musical The Dance of the Vampires (Vienna, Berlin, Paris and Russia); The Ship (for European Cultural Capital Glasgow 1990); Peter Pan (Kensington Gardens, O2 and US tours); The Last Confession (world tour) and Sunday in the Park with George at the Théâtre du Châtelet. Operas include productions for Bayreuth, Salzburg, the Metropolitan Opera Opéra National de Paris, Royal Opera House, English National Opera and Glyndebourne.



 Chris has designed extensively for Shared Experience Theatre, Royal Court, Hampstead Theatre, Lyric Hammersmith, Royal Exchange Manchester, West Yorkshire Playhouse, Royal Lyceum Edinburgh, Citizens’s Theatre Glasgow, Birmingham Rep and Manchester International Festival. For the National Theatre: Or You Could Kiss Me, Beyond the Horizon, Spring Storm, Harper Regan, The Seagull, The Pillars of the Community, A Dream Play, Iphiginia at Aulis, War and Peace, Baby Doll and The Colour of Justice. For the RSC: Titus Andronicus, Twelfth Night, The Winter’s Tale, Pericles, Cymbeline, Alice in Wonderland, Night of the Soul, Romeo and Juliet, A Midsummer Night’s Dream, Everyman (both also in New York) A Month in the Country, Troilus and Cressida, The Comedy of Errors (world tour), Mysteriaand Easter. Recent designs include 42nd Street (Chatelet, Paris); Vamos Cuba (Sadler’s Wells); 1984 (Northern Ballet); Great Expectations (West Yorkshire Playhouse); Sweeney Todd (Welsh National Opera, La Monnaie, Brussels); The Car Man, Lord of the Flies (Matthew Bourne’s New Adventures, Sadler’s Wells, National and International Tours); Carlos AcostaClassicalFarewell (Royal Albert Hall); The Driver’s Seat (National Theatre of Scotland); The Shawshank Redemption, Dial M for Murder, High Society and Wonderful Town (National Tours); EventualProgress, Salieri Variations(Ekaterinburgh Opera and Ballet Theatre, Russia). Chris won the TMA Best Lighting Design for Dial M for Murder (West Yorkshire Playhouse) and Beyond the Horizon (Royal and Derngate, Northampton).



 A Tony Award winner — Best Sound Design in a Play — for the Broadway production of The 39 Steps, Mic’s involvement in theatre sound extends over thirty-six years. Mic has been resident at the Lyric Theatre Hammersmith, the Royal Court Theatre, Tyne Theatre Company and toured internationally with Ballet Rambert.  He has designed the sound for over 350 productions including more than 250 for West Yorkshire Playhouse where he worked for 23 years as its first head of sound, resident sound designer, associate director and then from 2000 as Director of Creative Technology.  He received a TMA award in 1992 for Best Designer (Sound) for Life Is A Dream and was nominated for both the Lucille Lortel and the Drama Desk Award for Outstanding Sound Design 2001 for the New York production of The Une