Show: Witness for the Prosecution
Society: Sedlescombe Players
Venue: Sedlescombe Villsge Hall
Credits: by Agatha Christie
Type: Independent (registered user)
Author: Paul Johnson
Performance Date: 11/04/2024
Witness for the Prosecution
Paul Johnson | 12 Apr 2024 19:26pm
Photo: Peter Mould
Review by Terence Hattemore
We entered the constructed courtroom as though a travelling judiciary had arrived in the village. The clever staging whereby the audience are effectively in the public gallery sets the scene.
Immediately, the judge, Mr Justice Wainwright ,effectively played in voice and physical presence by Nick Brown pronounces the death sentence, wearing the black cap, that moment which must have been chilling for all present and in a theatrical moment, the rope descends.
Refreshingly, for nowadays, the whole production is set correctly in 1949 and the attention to detail enhances the audience experience. Even the stage crew are dressed in caps and overalls of the time, working efficiently in the half light . The plot has to be the most imaginative conceived and the outcome a real surprise. This was my first viewing as a stage production but the black and White film remains in my memory with performances from Charles Laughton and Marlene Dietrich. If you are yet to see this and If you do not know the conclusion of this piece, in the tradition of Alfred Hitchcock films, I will not reveal it.
Director, Tara Buchanan has assembled a strong ensemble cast to bring this to life. Interestingly, all the actors wore radio microphones, which would not appear to be unnecessary in the relatively small hall. The effect reminded me of a radio play and at odd moments the voices from overhead speakers seemed a little disconnected from the dialogue as we were so close to the action unfolding. However, as there was clarity and good diction, no words were lost even when actors were facing away from the audience. A court room setting, with some scenes in an office and a railway station, is of necessity largely static so the performances are exposed and were uniformly good. As an aside, A conversation I engaged in with two ladies revealed their surprise that the actors were all amateur.
When you see a lot of local productions, there are inevitably some actors and actresses, singers, who are good, reliable performers but often seem the same. Then there are those who seem to inhabit the character  and whether a brief appearance or a long one, sustain and create a picture, somewhat akin to an artist bringing to life from a rough sketch a portrait in many tones and shades of colour. David Fricker as the accused murderer, again is outstanding weaving the web of deceit to all he meets, hapless, the victim of injustice, an `innocent abroad` or is he? Not only does he impress with the impression of himself he weaves, but it is the physicality and expressions in the box . He convinces you that what you are hearing from prosecution witnesses, notably Crystal Greenfield, in a really good appearance as the long serving, newly embittered housekeeper is flawed, as does the defence barrister, a long and fine performance from Bob Murray as Sir Wilfrid Robarts QC. As this play is well constructed we see the unfolding thoughts on the approach to the defence and the necessary debate with the solicitor, John Wilson, creditably played by  Michael Wilson.
Tessa Boase plays the pivotal `double` role as Romaine and brings her continental voice and glamorous costume to the office and courtroom. The threads she weaves match those of Leonard Vole.
Nicola Dealtry, as Ms Myers QC is highly effective as the prosecution barrister. There was strong support from all the cast including Christopher Hohenkerk, principally as the court clerk.
The play unfolds in three acts and comes to a stirring, shocking and totally unexpected finale The legal process is man made, has evolved through centuries and is only as good as the calibre and conscience of the participants, matched only by the integrity of the jury. The mantra and requirement of assessing guilt `beyond reasonable doubt` is something of a safeguard but there are no guarantees.
As usual, part of the success of the Sedlescombe players remains the companies ability to transform a multi purpose hall into a viable and atmospheric setting, with well chosen music, tales set with court menus and tea lights in glass containers.
A hugely successful performance, enthusiastically received.