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'Witness for the Prosecution' by Agatha Christie

Now on stage at The Royal George Theatre, Niagara on the Lake until October 13.

Courtesy of The Shaw Festival website

Geoffrey Coulter, actor, director, adjudicator, arts educator

“The Shaw Festival bears witness to this fine film noir take on Agatha Christie’s courtroom whodunit, firmly planting tongue-in-cheek – and it’s terrific.”

Agatha Christie’s plays are well known for their wordy dialogue, intricate plots, spurned lovers, murder, betrayal and double-cross. Most of her work was produced for mid-twentieth-century audiences with all the sentiments and attitudes of a bygone era.

“Witness for the Prosecution” was a departure from her standard narrative of suspects congregating in an old home and acting all suspicious. Here, Christie adapted a 1925 short story, and the full-length version premiered in London in 1953. She had two other plays running simultaneously, “The Mousetrap” and “Spider’s Web,” making her the only female playwright to have three plays running simultaneously in the West End. A feat unbeaten to this day.

Of course, “Witness” is chock full of dated stereotypes and melodramatic overtones. The Shaw Festival’s production brilliantly embraces the campiness, presenting this version as a film-noir homage to Billy Wilder’s 1957 classic big-screen thriller starring then-Hollywood heavyweights Charles Laughton, Tyrone Power and Marlene Dietrich.

When I say brilliant, I mean that for half of the first act, you’re not sure whether to take things seriously or whether the laughs are intended. This is where director Alistair Newton adroitly gives his audiences the wink-wink, nudge-nudge. I’ll admit it confused me at first. Several scenes weren’t played as a send-up. The courtroom scenes are high drama.

But then I realized that this smattering of melodrama signals that we can’t take this all too seriously, so why bother? His cast is serious about not taking themselves too seriously!

The affable Leonard Vole (Andrew Lawrie) is being tried for the murder of a wealthy woman, and legendary lawyer Sir Wilfrid Robarts (Patrick Galligan) has chosen to represent him. Unfortunately, Leonard's alibi depends on the testimony of his aloof and sultry wife, Romaine (Marla McLean). Yes, Leonard has the motive, but did he do it? A series of puzzling revelations unfold.

As the curtain rises, we’re in Robarts’ legal chambers, where EVERYTHING is, well, in black and white. Karyn McCallum’s striking monochromatic walls, furniture, props, and paintings make us feel like we’re in a 1950s movie. Ingenious! Even the fireplace flickers colourlessly.
The same inspired grey-scale design is seen in the grandiose courtroom at the top of Act 2, garnering audience gasps and whispers.

Judith Bowden’s spot-on 50’s costume design complements this monochromatic design with everyone wearing similar shades of grey, black and gauzy white. Only Romaine’s form-fitting ensembles pop with primary colours. As a further nod to the movie, sound and music designer Lyon Smith punctuates critical scenes with authentic jazzy, modernist music scores from the fifties. When sultry Romaine slinks on and offstage, she’s accompanied by smoky sax music and melodic vamps. Siobhán Sleath flawlessly recreates the era's film mood lighting. Her high-contrast positioning of light fixtures and extensive use of shadows and projections prove she’s aced the style of German expressionism that influenced an entire genre of filmmaking.

But it’s Newton’s direction and dedicated cast that seriously sell the campy double-crosses and plot twists. Everyone is convincingly British – and European - with consistent and authentic accents, mostly. Many play multiple roles.

As the meek Leonard Vole, Andrew Lawrie is thoroughly believable in his naivete. Still, his speedy and monotone (and sometimes quiet) line delivery in Act One bordered on tedious, though he did have beautiful moments in the courtroom scene in Act Three. As his wife Romaine, Marla McLean is having a grand time as the sultry femme fatale, strutting like a Paris fashion model, pausing for a wink or two to the audience. What a joy to see Shaw veterans doling out their considerable talents.

Fiona Byrne has remarkable comedic subtlety as the busybody secretary Greta and Shawn Wright is more than up to the challenge of his dual roles of legal assistant Carter and pompous Judge Wainwright. Patrick Galligan as Leonard’s lawyer, Wilfred Roberts, and Graeme Somerville as prosecutor Myers shine in act two’s courtroom scene as they deftly trade melodramatic barbs and zingers. These gentlemen are exceptional, their dialogue and timing so well-rehearsed it seems like the first time they’ve spoken them.

Kristopher Bowman makes a stoic solicitor as Mr. Mayhew, while Martin Happer swaggers on and off stage as the self-absorbed Inspector Hearne (looking every bit an American private dick sporting a floppy fedora and oversized trenchcoat). Lawrence Libor has much fun playing a side-kick detective, policeman and nerdy Thomas Clegg. Cheryl Mullings as Dr. Wyatt/Mrs. Barton testifies with a short speaking part, which deserved more expressive delivery, while Ryann Myers, as the Courtroom Clerk/The Other Woman, spoke far too quickly, rendering her almost unintelligible. Monica Parks shared this same lack of clarity as housekeeper Janet MacKenzie. Her thick, muddled accent made her nearly impossible to understand—a note to voice and dialect coach Jeffrey Simlett.

This show is great fun, and thanks to director Newton’s light-hearted treatment, we forgive the cringe-worthy, misogynistic lines like, “Ungrateful beast, women!” and “If you were a woman, Miss Plimsoll, I would strike you.” He knows the show is dated and wants you to know it, too. He’s conceived a genius approach to making this aging classic accessible – and highly enjoyable - to a modern audience.

Advertising for the 1957 movie version and this play pleads with audiences not to reveal the “shocking” ending. Today, it doesn’t have the shock it once had. It's more like smiling satisfaction. At the sold-out performance I attended, audiences were thrilled and rewarded the company with a standing ovation. If anyone can accuse Shaw of providing an entertaining, highly stylized and brilliantly imagined interpretation of a dusty Christie classic, I’d say guilty as charged!

Running time: Running time, approx. 3 hours with two 15-minute intermissions.

The production runs until October 13 at the Royal George Theatre, 85 Queen St, Niagara-on-the-Lake, ON L0S 1J0.

For tickets, call the Box Office at 1-800-511-7429 or visit shawfest.com

The Shaw Festival Presents Agatha Christie’s “Witness for the Prosecution”
Directed by Alistair Newton
Set and Projections designed by Karyn McCallum
Costumes designed by Judith Bowden
Lighting designed by Siobhán Sleath
Original Music and Sound designed by Lyon Smith
Movement Direction by Alexis Milligan

Performers: Kristopher Bowman, Fiona Byrne, Patrick Galligan, Martin Happer, Andrew Lawrie, Lynn Laywine, Larence Libor, Marla McLean, Cheryl Mullings, Ryann Myers, Monica Parks, Graeme Somerville, Shawn Wright



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