Witness For The Prosecution

Agatha Christie’s Witness for the Prosecution remains a much-loved courtroom drama, offering intrigue, moral ambiguity, and the pleasures of a carefully constructed plot. Ulverston Outsiders’ November production at the Coronation Hall brought this classic to the local stage with clear care and ambition, and it was evident from the audience response that the performance was warmly received.

The courtroom scenes were anchored by Matthew Ashton as Sir Wilfred Robarts QC, who brought authority, clarity, and momentum to the role, providing a strong centre for the production.

Colin Kendall’s Mr Justice Wainwright offered calm control with gentle touches of humour that sat comfortably within the serious tone of the play.

Matt Berry’s Leonard Vole was engaging to watch, bringing charm and ambiguity to the accused, while Clare Coulston’s Romaine Heilger made a clear impact, shifting the energy of the courtroom when she appeared.

Helen Newell delivered a warm and grounded performance as Greta and deserves particular praise for also stepping in at short notice to cover the role of Janet Mackenzie, a task she handled with confidence and professionalism.

The prosecution team, including Paul Jordin as Mr Myers QC and Chris Barron as Detective Inspector Hearne, helped drive the courtroom exchanges and establish the opposing forces within the trial.

Supporting roles across the courtroom — from clerks and ushers to medical and police witnesses — contributed to the sense of a functioning legal world and helped the story progress clearly. Across the cast, diction and projection were generally clear, enabling the audience to follow Christie’s intricate narrative.

The production made effective use of a simple, functional set incorporating chairs, tables and symbolic elements to establish the courtroom world. Scene changes were handled efficiently, maintaining momentum throughout the evening. Staging the action on the floor created moments of intimacy for those seated close to the performance area, though at times the in-the-round layout presented challenges for sightlines for the audience, aspecially as only a section of the seating was raised. Occasional use of the raised stage or even low rostra on the floorspace might have helped maintain visual clarity for all audience members.

Costumes were well chosen and appropriate to the period, clearly conveying status and profession. Hairstyles and wardrobe supported characterisation without distraction, contributing to a cohesive and believable visual style. Lighting added atmosphere but was occasionally uneven from certain angles. With surround-style staging, more even lighting coverage could help ensure that all performances are equally visible and that focus remains consistent across the space.

As a company, there is scope for further development through the rehearsal process, particularly in deepening shared character relationships, maintaining pace, and ensuring accents support rather than distract from clarity. Strengthening these collective elements would help the ensemble feel even more interconnected and allow the tension of the piece to build more naturally.

The production maintained a consistent and serious tone throughout, appropriate to the material and its period.

Audience response was positive and appreciative, reflecting enjoyment of seeing a familiar and well-loved play presented locally.

Overall, this was a thoughtful and well-received production that demonstrated commitment and respect for the material. Director Jenny Schofield should be pleased with a production that has successfully brought a much-loved classic to the local stage.

With continued attention to ensemble cohesion, pacing, and technical balance, Ulverston Outsiders have strong foundations on which to build future productions.

Thank you Ulverston Outsiders, for your invitation.

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