The Accused

Director Bernard Teuben brings the tension and theatricality of the courtroom to the stage in this absorbing drama by well-known novelist (and one time guest of Her Majesty’s prisons) Jeffrey Archer. With the Scales of Justice towering above on a huge and colourful backdrop, the stage transforms to the pomp and be-wigged ceremony of the Old Bailey and the trial of cardiologist Patrick Sherwood (Jason Spindlow) – charged with murdering his wife by administering the poison potassium chloride.

Appearing in his defence is Sir James Barrington QC (Matt Tredinnick), while Anotonia Kersley QC (Sandy Velini) presents the case for the prosecution. Together the two barristers work hard to convince the jury – in this case, the members of the audience – of his guilt or innocence.  Their decision, made just before the end of the second act by placing tokens in either side of a ballot box, decides which of Archer’s two endings will conclude the play.

Presiding over the legal manoeuverings is the imposing figure of Paul Houchin as Mr Justice Cartwright, whose resonant tones keep the barristers in line, while Alan Long as the Jury Baliff painstakingly instructs the jury/audience on their duty and responsibilities as the case proceeds.

Both Velini and Tredinnick give impressive performances. Resplendent in faultless court finery (thanks to legal advisor Barrister Rob Taylor and some of his colleagues), they strut the stage with suitable self-importance. She is the straight, compliant prosecutor, convinced the defendant’s guilt, perceptively aware of the cunning guile of her legal opponent and determined to defeat him. He is the hardened criminal lawyer, not averse to underhand tricks in his cross examination, and his approach to the jury.

Add to this their long-standing contempt for each other, their apparent disdain for Justice Cartwright himself, and Archer’s ‘clever use of humour and irony’ and you have characters that accomplished performers like Velini and Tredinnick can really enjoy. She presents her case with resolute integrity, puffing and frowning with righteous indignation at her opponent’s objections and asides.

He uses all the wiles of the theatre of court, scoffing deriding objections, whispering obviously deriding remarks to this advising solicitor and ingratiating himself with the jury via mocking smiles and sneers.

Both actors carry the play, giving it the punch and pace that make it make it compelling theatre rather than dry, predictable courtroom drama.

The courtroom personnel (Daniel Vavasour and Ron Parnell) and the advising solicitors (Sarah Sparke and David Alsopp) spend much of the play in silent observation. As does the plaintiff himself, who watches in virtuous incredulity until he himself is called as to the witness box. Here Spindlow comes into his own, presenting the upright surgeon, bereaved husband and unfairly accused citizen with beguiling conviction – or artful deceit.

Witnesses are led by David Hill as the arresting officer DCI Payne, Dennis Channels as the shambling, illiterate porter, Albert Webster, Sumesh Kannanmasseril as the colourfully dressed pharmacist, Masood Hussein and Ken Fletcher as the eminent Scottish toxicologist, Professor Alistair Forsyth. It is not until the final witness, nurse and his erstwhile lover, Jennifer Mitchell, takes the stand that Sherwood begins to get restless in the dock. Ellen Northcott’s portrayal of the wronged mistress finds initial innocent indignation in Mitchell’s testimony followed by growing exasperation and shrill denials as Barrington gleefully cross-examines.

This is an impressive production of a relatively difficult play.  The colour of the beautiful artwork of the backdrop (Jewel Johnson and Lyn Jones) and the touches of red in the costumes (Annette Snars) offset the sombre black and white of the legal paraphernalia just as the comedic timing and posturing of the barristers offset their legal badgering.

Bringing the legal eagles and the witnesses into the court via the theatre itself allows Teuben to involve the audience intimately in the performance. They are an integral part of the play, from the initial “Please rise” to the (almost) final “Consider your verdict”. It’s a good play with which to end the season and Teuben, his cast and crew should be rewarded with a great audience response.

Carol Wimmer

Photographer: Chris Lundie