McNamara’s candid defence is as naive as Emer McDaid (as the red-haired and unfaltering Romaine Vole) is spiky. The climax is built smoothly, mostly thanks to the clean work of director Lucy Bailey and staggering performances from the cast. For the other segments set outside, the changes of scene happen swiftly and with the support of well designed ambient sound.įrom the very first exchanges on-stage, the sustained pace commands the unremitting attention of the public. The most exciting sections of the show are those in the courtroom. As one crosses the threshold, the majesty of the vault – the wooden benches, the judge’s chair – emanate solemnity. The twists and turns of the gripping tale by the queen of detective stories couldn’t find a more appropriate home than here, among the columns and high ceilings of a real court. And, eventually, turns it again.Ĭourtroom drama and investigative story blend for a thrilling narrative.
The attorneys’ arguments seem to lead continuously to a grey area, until the testimony of a key witness turns the tide. And still, he seems the most innocent, an attractive and unfortunate young man. All the proof so far is collected from circumstantial evidence against the prisoner, who is about to inherit a large sum of money from the victim.
French agatha christie tv series trial#
“The truth, the whole truth, and nothing but the truth,” the witnesses swear, one after the other, as they approach the stand at the trial of Leonard Vole (Joe McNamara), charged with the murder of Mrs Emily French (a wealthy, middle-aged woman, who grew fond of him). Agatha Christie’s whodunit resumes residence in the stunning chamber on the Southbank, set to thrill and surprise.
And the jury – pardon – the audience is presented with a thorny case of money, devotion and perjury. County Hall is once again open for business.
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