Casting has been announced for for Agatha Christie’s Witness for the Prosecution, due to return to London County Hall from 14 September 2021. The production is booking through to 20 March 2022.
Theatre Royal Bath Productions and Jonathan Church Productions’ critically acclaimed production of David Mamet’s drama Oleanna, directed by Lucy Bailey, will tour the UK this summer from 8 June 2021, visiting Cambridge Arts Theatre (8 June-12 June), Theatre Royal Bath (14 June-3 July), MAST Mayflower Studio Southampton (5 July-10 July) and Malvern Theatres (12 July-17 July), before transferring to the West End’s Arts Theatre from 21 July to 23 October.
It has been announced that performances of Witness for the Prosecution will resume from 18 May 2021 at London County Hall on the Southbank. Cast to be announced soon.
Carolin Stoltz chatted to Emma Clarendon about being part of Witness for the Prosecution at London’s County Hall.
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Witness For The Prosecution, Agatha Christie’s murder thriller is playing very successfully at London’s ingeniously converted County Hall venue. RSC leading man Jasper Britton heads the latest cast change and as he took over the role of defence barrister Sir Wilfrid Robarts he and I chatted about the play and his career…
Actress Emma Rigby chatted to LLLC’s Emma Clarendon about her current role in Witness for the Prosecution.
It was a stroke of marketing genius on the part of director Lucy Bailey and her producers to decide to stage one of Agatha Christie’s best-loved court room dramas in something approaching a court room. Setting Witness for the Prosecution within London’s abandoned County Hall becomes as much the grandest ‘immersive’ theatrical experience in London as much as a revival of an old stage thriller.
Everyone loves an Agatha Christie tale. Unlike the films and programmes involving Ms Marple or Poirot that are often repeated on television, Witness For The Prosecution (which is directed by Lucy Bailey) doesn’t have a familiar marquee protagonist at the centre of its narrative.
Witness For The Prosecution is a glorious fusion of classic storytelling, first class production values and top-notch acting.
At the Ambassadors, Joanna Murray-Smith’s new play Switzerland arrives in the West End for the first time, putting Patricia Highsmith in the spotlight with an intriguing duologue about the nature of the authorial voice.
Joanna Murray Smith’s Switzerland, about the author Patricia Highsmith, is a creepy, funny, transgressive, impertinent tour-de-force of a 90-minute two-hander.
Here’s Love London Love Culture’s guide to some of the best shows opening in the capital in November.
Lucy Bailey’s Theatre Royal Bath production of Australian playwright Joanna Murray-Smith’s Switzerland will transfer to the West End next month, running for a limited season at the Ambassadors Theatre just ahead of another Murray-Smith play, Songs for Nobodies, transferring from Wilton’s Music Hall. The West End transfers come hot on the heels of Paul Robinson’s star-studded London revival of Murray-Smith’s Honour, starting at the Park Theatre next week.
The news of an extension for the Witness For The Prosecution, until March they say but quite possibly unto the edge of doom, and the fact that Lucy Bailey directed it resolved me to go to a Peak Tourist matinee.
Dark undercurrents flow beneath the surface of Fiery Angel and the Royal & Derngate, Northampton’s touring production of Love From a Stranger.
Jonathan Church, artistic director of Theatre Royal Bath, has announced the theatre’s full 2018 summer season programme. Some of the country’s most prolific actors will star in a selection of both UK premieres and renowned classics in the theatre’s historic Main House and the intimate Ustinov Studio.
Here, Agatha Christie’s and Frank Vosper’s 1936 play is in the assured hands of Lucy Bailey in a production for the Royal & Derngate. Where the play flounders, the production remains enjoyable, stylish, and – surprisingly – manages to avoid the absurd.
A dark new Agatha Christie adaptation has become something of a Christmas tradition, and even though the BBC only started this tradition two years ago with an excellent multi-part interpretation of And Then There Were None, it has fast become an established and much anticipated highlight of the festive schedule.
This site-specific version is a bit of a gimmick, and while one part of me yearns for the play to be allowed to speak for itself, another just relishes the novelty of this revival’s setting. So what’s the verdict? Guilty of being a good night out.