A play’s success depends on its plot, the collective efforts of its cast, crew and the audience’s response to it. Even though Curtain Call revives their play Witness For The Prosecution after two decades with an almost entirely new cast — for an audience that now includes newer generations — the parameters used to measure its success remain the same. That is why this award-winning play — featured in the Best Actor category at the 2006 Mahindra Excellence in Theatre Awards (META) — continues to make a comeback in the city. Set in London in 1959, this gripping courtroom thriller follows Leonard Vole — a hard-up man who finds himself accused of murdering Emily French — a wealthy old heiress. As all the evidence goes against him, Leonard’s last hope of proving his innocence is shattered when his enigmatic wife — Romaine Heilger — testifies against him as the titular witness for the prosecution. As witnesses testify — loyalties are questioned, uncovering twists and shocking revelations that keep the audience guessing the culprit until the very end. With an original production design by the legendary MS Sathyu, director Bhaskar Gauribidanur gets chatty with Indulge about the play’s revival, casting and more.
What was the reason behind the 20-year hiatus of the production?
Unfortunately, after returning from the META ceremony in 2006, one of my lead actors — Shahid Siddiqui — was diagnosed with a brain tumour and later passed away. In deference to him, we decided to bury the play. The remaining cast also moved out of Bengaluru, which further lowered my spirits about continuing the production. During its 20th anniversary this year, I decided to revive the play with a whole new cast, except for Nitin Vijayan as Inspector Hearne and I, stepping into Shahid’s role as Sir Wilfrid Robarts.
What has revisiting this production for today’s audience meant to you?
Everything! Witness For The Prosecution was one of my plays that received an overwhelmingly positive response. The audience would look as if somebody had punched them in the face. We’ve stuck to the original screenplay as much as possible to help younger generations experience Agatha Christie’s work on stage: the purity of the lines, the language and her thought process. However, in some places where we can’t retain the original language, we’ve tweaked the lines a little.
What drew you to directing the play back in 2005?
I’ve been a great fan of Agatha Christie. She has this knack for twisting and turning things around with her clever writing. I had two options — The Mousetrap and Witness For The Prosecution. I chose the latter because I found it a lot more intriguing and gripping.
How do the music and costumes add to the suspense of the play?
For the music, we’ve chosen The Four Seasons by Antonio Vivaldi. There are a few sound effects, such as knocking, babbling and sounds associated with the murder, which build the suspense. Otherwise, we have not used any composed music. The costumes are contemporary but align with the traits of the characters. For instance, Romaine’s red beret was chosen to indicate her classiness.
Having stepped into Shahid Siddiqui’s award-winning role of Sir Wilfrid Robarts, how has your preparation process been and does it feel like pressure to live up to his performance?
I feel humbled because he was ten years senior to me. It’s seniors like him whom I studied and learnt from in great detail. I did not want to copy or emulate him. I have my own style and have developed my own acting methods. Shahid’s performance in no way diminishes mine. I’ve given the role a different direction altogether: while he played it in a smoother manner, I’ve added a little more belligerence to it.
How would this play cater to audiences who have merely read Agatha Christie’s works and not seen them showcased in any medium?
It would be a million-dollar experience. An Agatha Christie fan will love it. Theatre is a small but powerful medium of storytelling. Even if one is not an Agatha Christie fan, they’ll turn into one after watching the play
What’s next for Curtain Call?
I’m reviving two old plays that I’ve done — Whose Life Is It Anyway? (2001) and Duet for One (2002) — along with plans for a comedy play, a children’s play and, at the end of the year, a musical. The intent is to write and direct more plays in genres I’ve never worked in before.
INR 599 onwards. October 16, 4 pm and 7.30 pm. At Alliance Française de Bangalore, Thimmaiah Road.
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