Witness For The Prosecution
Witness For The Prosecution
Prosecution
Agatha Christie
SAMUELFRENCH.COM
SAMUELFRENCH-LONDON.CO.UK
Copyright © 1933, 1948, 1982 Agatha Christie Limited.
AGATHA CHRISTIE is a registered trademark of
Agatha Christie Limited in the US, UK, and/or elsewhere.
All Rights Reserved
Cover design by Gene Sweeney
WITNESS FOR THE PROSECUTION is fully protected under the copy-
right laws of the United States of America, the British Commonwealth,
including Canada, and all other countries of the Copyright Union. All
rights, including professional and amateur stage productions, recitation,
lecturing, public reading, motion picture, radio broadcasting, television
and the rights of translation into foreign languages are strictly reserved.
ISBN 978-0-573--
www.SamuelFrench.com
www.SamuelFrench-London.co.uk
For Production Enquiries
United States and Canada
[email protected]
1-866-598-8449
United Kingdom and Europe
[email protected]
020-7255-4302
Each title is subject to availability from Samuel French, depending
upon country of performance. Please be aware that WITNESS FOR THE
PROSECUTION may not be licensed by Samuel French in your territory.
Professional and amateur producers should contact the nearest Samuel
French office or licensing partner to verify availability.
CAUTION: Professional and amateur producers are hereby warned that
WITNESS FOR THE PROSECUTION is subject to a licensing fee. Publi-
cation of this play(s) does not imply availability for performance. Both
amateurs and professionals considering a production are strongly advised
to apply to Samuel French before starting rehearsals, advertising, or
booking a theatre. A licensing fee must be paid whether the title(s) is
presented for charity or gain and whether or not admission is charged.
Professional/Stock licensing fees are quoted upon application to Samuel
French.
No one shall make any changes in this title(s) for the purpose of
production. No part of this book may be reproduced, stored in a retrieval
system, or transmitted in any form, by any means, now known or yet to
be invented, including mechanical, electronic, photocopying, recording,
videotaping, or otherwise, without the prior written permission of the
publisher. No one shall upload this title(s), or part of this title(s), to any
social media websites.
For all enquiries regarding motion picture, television, and other media
rights, please contact Samuel French.
MUSIC USE NOTE
Licensees are solely responsible for obtaining formal written permission
from copyright owners to use copyrighted music in the performance of
this play and are strongly cautioned to do so. If no such permission is
obtained by the licensee, then the licensee must use only original music
that the licensee owns and controls. Licensees are solely responsible and
liable for all music clearances and shall indemnify the copyright owners
of the play(s) and their licensing agent, Samuel French, against any costs,
expenses, losses and liabilities arising from the use of music by licensees.
Please contact the appropriate music licensing authority in your territory
for the rights to any incidental music.
IMPORTANT BILLING AND CREDIT REQUIREMENTS
If you have obtained performance rights to this title, please refer to your
licensing agreement for important billing and credit requirements.
WITNESS FOR THE PROSECUTION was first produced at The Winter
Garden Theatre, London, on October 28th, 1953. It was directed by
Wallace Douglas, with sets by Michael Weight. The cast was as follows:
ACT TWO
The Central Criminal Court, London-better known as the Old Bailey.
Six weeks later. Morning.
ACT THREE
Scene I: The chambers of Sir Wilfrid Robarts, Q.C. The same evening.
Scene II: The Old Bailey. The next morning.
TIME
The present
AUTHOR’S NOTES
I have great faith in the ingenuity of amateurs and repertory companies
to devise means of reducing the very large cast of Witness for the Prosecution
in order to make it possible to perform, and my suggested means of
reducing the cast is probably only one of many.
Although Greta never appears at the same time as “The Other Woman,’’
i.e. the strawberry blonde in the final scene, this part should not be
doubled, as the audience will think it is “plot”–whlch, of course, it isn’t.
Agatha Christie
9
10 WITNESS FOR THE PROSECUTION