Witness for the Prosecution Is a Thriller with All Sorts of Twists and Turns

 

    Agatha Christie is listed by Guinness World Records as the best-selling fiction writer of all time. Her novels have sold more than two billion copies, garnering her the moniker the “Queen of Mystery.”

    Obviously, the woman knows a thing or two about holding her reader’s attention. Judging by my, as well as the audience’s, reaction Friday evening to her 1953 play, Witness for the Prosecution, a Prime Stage production playing at the New Hazlett Theater, her spell binding prowess obviously extends to theater.

    Reputed to be one of Christie’s favorite works, Witness for the Prosecution has more twists and turns than a county road in rural Greene County, which is one factor that makes it so compelling. The work has many surprises including the one at the end that cold-cocks you from out of the blue.

    The narrative focuses on a near penniless young man, Leonard Vole  (Christian Benton making his theatrical Pittsburgh debut) and his wife, Romaine (Jenny Malarkey), the titular character. Vole is accused of murdering a very wealthy older woman who, during their rather brief friendship, wills him her entire estate.

    The evidence is stacked against the poor chap. Besides being the heir to the dowager’s estate, his blood-stained clothes have been discovered. The only person who can provide him with an alibi is his purported German wife, who really isn’t his wife since she was previously married and never got a divorce from hubby number one. This twist removes the barrier of preventing her, as his wife, from testifying in his trial. Note: Vole married her to help her escape from occupied Germany after World War Two.

    Defending the accused is patrician attorney, Sir Wilfred (Stefan Ligenfelter) who looks and acts the part down to the powdered wig and what’s commonly referred to as British reserve.

    Opposing him with an apparent dislike of his opponent, Myers (David Nackman) pursues the prosecution with uncommon zeal. He obviously wants a win that will humiliate his legal adversary.

    Acting as judge, Justice Wainwright (John Reilly) manages to uphold a regal bearing and maintain a low tolerance for jurisprudence chicanery despite wearing a wig heavy with ringlets that run down to his shoulders.

    Johnny Terreri cuts a fine figure as Sir Wilfred’s aide adding bits of impressive insight into the case. Testifying against the defendant is Janet Mackenzie (Erica Fox Zabusky), the slain woman’s Irish maid, gruff as can be and holding a grudge against the defendant for appropriating the entire estate of which she hoped to be awarded a share.

    Nicholas Page portrays no nonsense Detective Inspector Hearne, a zealous law enforcement officer eager to investigate the case. Assisting him in his duties is a plainclothes policeman (Evan Oslund) who also gets double duty as the warden. As Dr. Wyatt, John Feightner puts in a solid performance.

    Helping make the court proceedings run smoothly and efficiently is Jake Moon as the clerk and usher. Two characters who open the show with flourishes of original characterization and humor are Carine Iannarelli as Sir Wilfred’s capricious, eager to dance office manager and Matt Henderson as the colorful and somewhat eccentric Carter.

    All eyes, however, are usually trained on the defendant, whose innocent looks, benign appearance and somewhat naïve demeanor cast doubt as to his culpability. Benton, however, leaves enough room in his character for ambiguity, and, while on the stand, puts up an emotional insistence on his innocence.

    As the witness for the prosecution, Jenny Malarkey anchors the play with a cold ruthlessness of purpose, a woman to be reckoned with and no slouch when it comes to furthering her best interests.

    Ponny Conomos Jahn’s directorial work feels behind the scenes, as the cast is so qualified and excellent the play has the feel of a smoothly running, just wound clock, although I’m sure her efforts in getting it that way were formidable.

    Set designer Johnmichael Bohach created a smart and richly appointed set, one of the best I’ve encountered lately at Prime Stage Theatre, and costumes designer, Jaime Ericson, infused the courtroom scene with the rich ermine lined robes, cravats, black solicitor and barrister outfits and wigs (again) you usually associate with British courtroom dramas.

    You’d have been convicted and guilty of dereliction of duty if you missed this gem by Prime Stage Theatre.

    Witness for the Prosecution was produced at the New Hazlett Theater on Pittsburgh’s North Side. For more information on Prime Stage’s upcoming events, log on to www.primestage.com.