Review: Witness for the Prosecution

Staged by Leicester Drama Society
Little Theatre, Dover Street, Leicester
Words by Emma Bamford

Leonard Vole befriends a wealthy older woman, Emily French, but becomes the chief suspect in her murder. Did he do it?

Ruth Cheetham directs this fantastic play hinging on assumptions – foreigners are liars, lower class people are untrustworthy, and women don’t know anything, to name but three – where the audience takes on the role of the jury, presented with evidence (whether real or fabricated) as to why Leonard Vole should be found guilty of murder. As the prosecution and defence argue and debate with each other over Vole’s innocence, the audience are pulled this way and that. It’s a twisty-turny thriller and being written by Agatha Christie, that’s not much of a surprise, but Cheetham directs the heck out of it and it was, quite simply, fabulous.

Freddie Dobrijevic gives the performance of his life as chief suspect Vole. I’ve seen Dobrijevic in many a play and it’s fair to say he’s quite often the comic relief, the “silly goose” character … until now. By turns cheeky charmer, simple do-gooder and actually pretty sinister, Leonard Vole is unlike any character Dobrijevic has played before, and he gets it bang on.

Another (very pleasant) surprise for me was David Lovell as Sir Wilfrid Robarts QC, Vole’s chief defence. Lovell is another actor I’ve seen in many plays but he never seems to have been given much before that really showcases off his acting talents before. And boy, does he have the talents to pull this role off! The man is a force of nature, bantering with speed against leader of the prosecution Mr Myers QC (played excellently by Charles Moss), quick wits firing on all cylinders against Vole’s tricksy wife Romaine (played to beret-wearing perfection by Leeann Rana) and cajoling the full story out of Vole in their first meeting.

Exceedingly high praise should also be given to Jon Worthy (playing Vole’s beleaguered solicitor Mr Mayhew). His tired professionalism is perfect for the character, of course wanting Vole to get off scot-free but with a realistic outlook that he probably won’t. Worthy is a fantastic actor who really needs more roles to shine in.

Charles Moss and Leeann Rana were, as previously stated, absolutely perfect for their roles. Rana really gets into her role as Romaine (a German actress who Vole rescues from Russia’s Berlin sector). Romaine is Vole’s only alibi and it’s really her statement that will set the judgement one way or the other. Sassy, flirtatious and a nightmare to question in court, Rana clearly enjoys her times in the witness box (as she should!). Moss plays the swaggering prosecution to perfection, sweeping about the stage and battering down Lovell’s QC with every retort. Moss didn’t miss a beat, and you could have cut the tension between he and Lovell with a knife, ever-so-politely saying “m’learned friend” to each other while clearly wishing them a horrible death.

Carolos Dandolo was on top form as Judge Justice Wainwright, presiding from on high and displaying a lack of knowledge around cat grooming (watch the play, you’ll understand this) while also making it clear he has a penchant for blondes. Although the play is a drama, there are a lot of comedic lines, and Dandolo clearly makes the most of the ones he gets.

Credit should also be given where it’s due to some actors in small, rather thankless roles, with either no lines to say or exceedingly little. Darren Wright and Thom Jones (as policemen/court officers), Steffi Parker (Judge’s Clerk), Michael Bull (Alderman), Nick Sheard (Warder), and Eve Hopkins and Jemima Moulder as Paper Sellers. The paper sellers and the policemen got to mingle around the foyer before the play started. When that happens, you know you’re in for an evening of the unexpected. Congratulations to you all!

Carla Smith, in her first LDS role, has the rather unenviable job of opening the play with usual announcement about no photographs, no mobile phones etc. Director Ruth Cheetham has rather ingeniously done away with the recorded announcements and, as the Clerk of the Court, it makes sense that Smith should be the person delivering the message live and in a suitable clerk-y fashion. You wouldn’t know this is Smith’s first LDS play, as she has a superb air of confidence and never wavers (even when the Judge is banging his gavel perilously close to her ears).

But still, as incredible as the cast were, they would be nothing without the technical elements that bring the play together. Scenic Designer Nadine Hall has gone full-out on making a replica courtroom on the stage, seating the judge up high to look down on the lowly defendant. Atmospheric sound and lighting (from Andrew Northcote and Andy Crooks respectively) really ratchets up the tension. Set changes – carried out by members of the cast as well as the backstage team in suitable costume – were slick and didn’t detract from what was going on.

My only fault with this play (and there had to be one, I’m not that easy to please) was the Foreman of the Jury. With every single other character being played by a live person on the stage, why have the Foreman be a recorded voice? Why not actually put someone in the audience? The play is actually quite immersive and it was a weird jolt back to reality to have the Foreman not be a character who is present in the room. Still, this was a minor quibble with a play that was overall outstanding.

A wordy play that was never boring, Witness for the Prosecution was a fantastic evening out at the Little Theatre. I’ve not seen an audience this responsive – gasps, boos and exclamations – since panto. Well done to all involved!

Five stars. Case dismissed.

★★★★★

Photos by Sally Evans.