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Witness for the Prosecution is a play adapted by Agatha Christie from her 1925 short story Traitor's Hands. The play oped in London on 28 October 1953 at the Winter Gard Theatre (although the first performance had be in Nottingham on 28 September). It was produced by Sir Peter Saunders.
The Times of 29 October 1953 was thusiastic in its praise stating, The author has two ds in view, and she attains them both. She takes us now into the Old Bailey during an exciting trial for murder, now into chambers where the human reactions of the lawyers gaged in the case may be studied; and wh the trial is over and there seems no more to be said, she swiftly ravels again the skein which the law has confidtly unravelled and leaves herself with a douemt which is at once surprising and credible. The reviewer outlined the basics of the plot, commting that Patricia Jessel's performance in the dock was cold-blooded and that she makes a clear-cut image of hatred releasing itself suddly from inhibitions which have become intolerable and that Derek Blomfield was equally good. The greatest praise was reserved for the climax: Mrs Christie has by this time got the audice in her pocket. A timely intervtion of a woman of the streets offering new evidce seems precisely what the trial needs and wh it is resumed the evidce brings it triumphantly to a satisfying conclusion. It is only th that the accomplished thriller writer shows her real hand.
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Ivor Brown of The Observer said in the issue of 1 November 1953 that the play had, all the usual advantages of Counsel in conflict, agonised outbreak in the dock, and back-answers from the witness-box. To these are added a considerable and ingious appdix; the jury's verdict is only the beginning of a story that has as many twists as a pigtail. He summed up with a commt on the performance of Patricia Jessel, who takes the title-part with cool efficicy. Whether she is snake in the grass or butterfly on the wheel playgoers must find out for themselves. There will be plty doing that.
Philip Hope-Wallace in The Guardian's issue of 30 October 1953 said of the ding, Justice has be done and has be se to be done. We nod approvingly, at which momt Mrs Christie says in effect Oh, so you thought that did you? and with an unforese twist of the cards lets us see how wrong we were. This is satisfying, but it makes criticism almost impossible; first, one must not give away the clue and second, one must reconsider whether those witnesses who seemed the most plausible were not, in fact, less good players than those who seemed somehow not quite 'in character'. Nevertheless, Hope-Wallace did admit that the oping night was a great success and stated that the play prested a well-made, humorous, exciting case.
The cast list, to preserve the surprise ding in the final sce, lists one character simply as The Other Woman. Until that final sce audices are meant to believe that The Other Woman refers to an appearance by Romaine in disguise. This is to hide the appearance of the other Other Woman in the closing momts. In 1995 Mystery Writers of America included the play In their list of The Top 100 Mystery Novels of All Time.
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The play oped in America at Hry Miller's Theatre, New York City on 16 December 1954. It was produced by Gilbert Miller and Peter Saunders. Patricia Jessel was the only member of the cast to transfer from the London production.The Times reported on the success of the production in its issue of 23 December 1954 wh they quoted a review in the New York Herald Tribune which said that the play should be, A walloping success. The finish is done with such dedicated conviction, such patt plausibility, such respect for the medium as a thing of beauty that you are apt to find yourself gasping out loud.
Jessel and Francis L. Sullivan both won Tony Awards for their roles, and Christie won an Edgar Award from the Mystery Writers of America for Best Mystery Play. The play ran for 645 performances, closing on 30 June 1956.
The play was first published in the UK in Famous Plays of 1954 by Victor Gollancz Ltd in 1954. The first printing in the US was in the same year in a paperback edition by Samuel Frch Ltd. Frch also published the play in the UK in 1957 as Frch's Acting Edition No 648 priced at five shillings. It was reprinted in hardback for the US market in The Mousetrap and Other Plays by G. P. Putnam's Sons in 1978 (ISBN 0-396-07631-9) and in the UK by Harper Collins in 1993 (
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The very first performance of the story, just pre-dating the debut of Christie's play, was in the form of a live telecast which aired on CBS Television's Lux Video Theatre on 17 September 1953 and which starred Edward G. Robinson (making his television debut), Andrea King, and Tom Drake.
The film version, based on Christie's play, was released on 6 February 1958 and directed by Billy Wilder. Charles Laughton played Sir Wilfred, Marle Dietrich played Romaine (ramed Christine) and Tyrone Power played Leonard Vole in his second to last role.
A character not in the play, Sir Wilfred's nurse, Miss Plimsoll, was created for the film and played by Laughton's wife, Elsa Lanchester.
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Una O'Connor who had played Janet MacKzie, the housekeeper of the murder victim, on the New York stage, reprised her role in the film.
A 1982 adaptation was made for television with Sir Ralph Richardson, Deborah Kerr, Beau Bridges, Donald Pleasce, Dame Wdy Hiller and Diana Rigg.
In April 2014, the first ever site-specific production of the play oped at York Guildhall from York-based company, Theatre Mill, and was fully supported by Agatha Christie Ltd.
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According to reports, it was always Christie's wish to see the play in a site-specific location. The production was staged in the city's council chambers (using most of the building and played in-the-round) and was directed by Samuel Wood.
Theatre Mill's production was revived at the York Guildhall from June 2015 before transferring to Leeds Civic Hall, again garnering extremely positive reviews.
In October 2017, a unique courtroom staging of the play oped at London County Hall to critical acclaim. Performances were suspded in March 2020 due to the COVID-19 pandemic in the United Kingdom, and resumed in September 2021.
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Produced by Eleanor Lloyd Productions and Rebecca Stafford Productions this site-specific production is set in the magnifict surroundings of the chamber inside the historic London County Hall.The House committee investigating the deadly Jan. 6 attack on the Capitol has conducted more than 1, 000 interviews over the course of the past year, seeking critical information and documents from people witness to, or involved in, the violence that day.
Those interviews — including from some of Trump’s closest aides and allies — have taken center stage during the committee hearings so far. But the committee has also called a number of new witnesses to offer key details about the timeline of events that day, as well as Trump’s actions in the weeks before it.
In the days ahead, advisers to then-Vice President Mike Pence and other former administrative staff may also appear to offer their accounts. Some have already participated in closed-door conversations with the committee; others have been subpoenaed for interviews or records.
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Why does the committee want to hear from him? Pottinger was part of a wave of resignations from the Trump White House in the immediate aftermath of the Jan. 6 attack. Pottinger was hired early into the administration and had stayed on through all four years.
Pottinger was also in the White House during much of the afternoon of Jan. 6, and, according to his testimony, tried to convince chief of staff Mark Meadows that Trump needed to diffuse the crowd.
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The New York Times also reported ahead of the July 21 hearing that Pottinger told the committee about requests by Washington, D.C., Mayor Muriel Bowser to deploy the National Guard.
Cooperated with the committee? Yes. Pottinger has voluntarily appeared before the committee and some of his testimony has already appeared as video during previous hearings.
In his testimony, he said that he decided to resign from the administration, where he’d worked since the beginning of Trump’s term, when he saw the president’s 2:24 p.m. tweet deriding Vice President Mike Pence.
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An aide handed him a sheet of paper with Trump’s tweet on it, Pottinger testified. It “disturbed” him that Trump was attacking Pence for carrying out his constitutional duty in overseeing the certification of Biden’s presidential victory, he said.
“I
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