Witness for the Prosecution

In a real theatrical coup, Theatre Mill’s classic Christie adaptation takes place in the chambers of Leeds Civic Hall, usually the scene of topical tempestuous debate by local councillors. Now, it becomes the site of an evening of high tension and sustained suspense par excellence.

This seminal courtroom drama sees the accused, Leonard Vole, played with great subtlety and precision by Niall Costigan. Costigan displays a gamut of emotions which alternate between evoking pity and sympathy and a desire to mother or befriend, though always with a touch of doubt as to his true nature.

In his defence, Adam Elms, as his solicitor Mayhew, and Gordon Kane, as Q.C. Sir Wilfred, are both masterful in their legalistic roles. While as the prosecution’s Myers, Clive Moore demonstrates erratic antics in his depiction of a barrister bent on making his mark in what should be a dream case.

The realism of the proceedings are given extra authenticity by the Civic’s setting, with the audience even being asked to raise to their feet at the entrance of the judge (an ironic part made all his own by Chris Wilkinson with suitable bewilderment). Samuel Wood’s direction makes perfect use of the space with excellent blocking techniques and a perfect pace that keeps us gripped and quite in awe.

But the key performance, once of course immortalised by Marlene Dietrich, is Rachel Logan’s Romaine, who goes from ice-cool sophistication to distraught melodrama, but always with a playful double bluff as to her underlying motivation.