Tag Archives: Ellie Kurttz

Witness for the Prosecution

Witness for the Prosecution

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London County Hall

Witness for the Prosecution

Witness for the Prosecution

London County Hall

Reviewed – 27th April 2022

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“The courtroom setting is of course a highlight”

 

Witness For the Prosecution has been intriguing and entertaining tourists and Londoners alike since 2017, and I don’t see why it should stop any time soon.

Baby-faced Leonard Vole (Joshua Glenister) is being accused of murder, having been found in the wrong place at the wrong time, but despite his seemingly obvious innocence, the evidence is shaky. Will his open features and simple nature be enough to redeem him?

Agatha Christie does well to create this stuffy, old-boys’ club legal system full of lots of back-slapping middle-aged men. It feels almost timeless in that it could be 1850 just as easily as 1950. But in walks Leonard’s wife Romaine Vole (Lauren O’Neil) dressed all in black, and suddenly we’re in technicolour. The women are the flavour of this otherwise slightly musty courtroom drama, with Romaine leading the pack, feline and cryptic in beatnik beret and blood-red lipstick. But housekeeper Janet Mackenzie (Mandi Symonds) and even the hardly-seen jealous woman, and mysterious blond (Lily Blunsom-Washbrook) in the second half are a glorious disruption.

Where previous casts have chosen a slightly subtler route, this new production has opted for campy over-the-top histrionics which I think suits the echoey chamber and oft-nightmarish script perfectly. Leave the naturalism to the proscenium arches.
The courtroom setting is of course a highlight, the lofty ceilings and dark wood adding flair to what is otherwise a pretty conventional production. A select few are seated as the jury, and others are sat in the press gallery. The rest of us play a ghost audience to a murder trial that has happened many times before in this same space. It’s just unusual enough to appeal to the savvy theatre goer, and plenty accessible for the enthusiastic novice looking for a good story to get stuck into.

The production claims to be running only until September, but considering how long The Mousetrap has been going, I’d say there’s still a good appetite for Christie in the city, and Witness is a much snappier story in a far more engaging setting.

 

Reviewed by Miriam Sallon

Photography by Ellie Kurttz

 


Witness for the Prosecution

London County Hall – currently booking until 25th September

 

Previous review of this show:
Witness For The Prosecution | β˜…β˜…β˜…β˜…β˜… | September 2021

 

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I Know I Know I Know

I Know I Know I Know

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Southwark Playhouse

I Know I Know I Know

I Know I Know I Know

Southwark Playhouse

Reviewed – 9th April 2022

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“thoughtful and powerful”

 

The young company DONOTALIGHT brings to the stage a compelling play by Flora Wilson Brown that speaks for the new generation.

A minimal set (Victoria Maytom) comprises some rubber plants positioned on random flight cases. A central shoddy brown sofa, set obliquely, doubles as the front seats of a car.

Alice (Hannah Khalique-Brown) enters the darkened space (Lighting Designer Ryan Day), her face illuminated by the screen of a mobile phone into which she is about to tell her story; the only way she can come to terms with putting her years of trauma into words.

Max (Ethan Moorhouse) and Hannah (Martha Watson Allpress) meet as old university mates, lift-sharing as they drive to Bristol for a mutual friend’s wedding. The bride is Hannah’s former flame, it transpires. Enlightened direction (Harry Tennison) has the couple move freely about the space, engaging in rough and tumble, falling into slow motion scenes, all the while the car journey continues.

These two scenarios occur together in the same space and yet lie a distance apart. Sometimes the conversations coincide and the same words are spoken. At other times there appears a parallel mood between them. At first the technique seems clumsy and I fear that I cannot follow the two stories simultaneously; I worry I am missing something crucial. But the initial clash is intended and it sorts itself out as things progress.

Martha Watson Allpress and Ethan Moorhouse both excel in the relaxed friendship between Hannah and Max. Their smiles, laughter, and repartee are natural and free flowing. If Max is just a bit too much boy-next-door to be a convincing world-leading rock musician, maybe even megastars have a day off from their on-stage personas. Hannah Khalique-Brown is outstanding as the exposed and vulnerable Alice in what is essentially an extended monologue. Her initial quirky mannerisms underlining Alice’s inherent nervousness develop into something else as she finds the courage to speak out, not just for herself but for others too. Some curious staging of a final scene as Alice talks of the future for the only time in the play is marred by her passive positioning, speaking upstage.

Flora Wilson Brown’s thoughtful and powerful script raises so many questions concerning behavioural responsibility and culpability, coercion, and self-doubt. If anyone should consider that the abuses brought to light through the #MeToo movement are only historical then Flora Wilson Brown’s direct and dynamic writing should redress those thoughts. It is only up to us to listen.

 

Reviewed by Phillip Money

Photography by Ellie Kurttz

 


I Know I Know I Know

Southwark Playhouse until 16th April

 

Previously reviewed at this venue:
The Woods | β˜…β˜…β˜… | March 2022
Anyone Can Whistle | β˜…β˜…β˜…β˜… | April 2022

 

Click here to see our most recent reviews