What Sarah Phelps has done with Agatha Christie’s stories has been nothing short of miraculous. When the BBC and the Agatha Christie estate announced it had signed a new deal in 2015, we weren’t quite sure what the fruits of the deal were going to taste like – more by-the-book Miss Marples and Poirots? Vanilla adaptations of some of her other stories? The fruits turned out to be something totally fantastic, and so far we’ve had two Christmas event series that have been meaty muthas, stuffed with emotion, heartbreak, tension, and extra characterisation and social context. Now we know for sure that Phelps will be back with us for a third Christie adaptation.
Last night, on Boxing Day here in the UK, we were treated to another Sarah Phelps adaptation of an Agatha Christie story: an intriguing, post-World War I yarn set in the Roaring Twenties, a murder of a voracious but tragic socialite at its heart. Nailed on for her murder was her young lover and ex-soldier Leonard Vole, who was relying on the alibi of his partner, Romaine Heilger, to get him off the hook. Except Heilger (Andrea Riseborough in mesmerising form) changed her tune just before his trial, spitting “hang” in his face. Why had she done this? While not a primary suspect, she was playing with the truth. Or was she? We were about to find out…
NB: Spoilers ahoy
We got our first real whiff of the BBC’s new working relationship with the Agatha Christie estate with last year’s And Then There Were None (let’s conveniently gloss over the fairly awful Partners In Crime before it), and if that was anything to go by our festive visit to Christieville is going to be an annual treat. And Then There Were none felt like a fresh take on an old story – its intriguing whodunit elements retained and observed reverentially, with lashings of gorgeous set design, superb, big-name actors and beefed-up depth and social context in its characters. If And Then There Were None set a benchmark for future Christie Christmas adaptations, then The Witness For The Prosecution surely followed suit.
NB: Spoilers ahead
As you’re all no doubt aware by now, Toby Jones is one of this country’s finest and most adaptable actors, but he’s at his best – I think – when he playing men who are conflicted somehow, perhaps slightly timid and unable to express emotions. There’s something about Jones’s furrowed browd and hangdog look. He appear alongside Andrea Riseborough and Kim Cattrall in Sarah Phelps’ The Witness For The Prosecution, and he’s wonderful. I managed to get hold of an interview with Toby, which is after the jump.
Ever since I saw her in The Devil’s Whore, I was kind of transfixed by Andrea Riseborough. Since then she has gone on to become one of this country’s best and most unheralded actresses. I had the pleasure of interviewing her for that series, and she was lovely, opinionated and had a certain energy about her that marked out as one to watch. Ever since then she’s picked really interesting projects and, in this site’s case, I’ve been thrilled that she’s put in some amazing performances in not one crime drama (National Treasure) but two: Sarah Phelps’ latest superb Agatha Christie adaptation, The Witness For The Prosecution. I managed to get hold of interview with Andrea, which is after the jump.
Boxing Day heralds a real festive treat – another Sarah Phelps adaptation of an Agatha Christie story. Last year Phelps created an impossibly enjoyable and tense re-telling of And The There Were None, and now this year it’s the turn of a Christie short story to get the Phelps treatment. As ever, there’s a stellar cast attached (Toby Jones, Andrea Riseborough and Kim Cattrall among others) and the setting of louche 1920s London is beautifully realised. We managed to get hold of an interview with Kim Cattrall – who’ brilliant, again – and you read it after the jump.
The Daily Mail got into a lather a few days ago when it previewed Sarah Phelps’ latest Agatha Christie adaptation – The Witness For The Prosecution – screaming that it was full of swear words and sex. Good, I said to myself. It implied that the two-part adaptation was so far away from the ‘spirit’ of Miss Marple our every society was being eroded. Good, I said to myself. Now we have a trailer from the BBC so we can get a flavour for ourselves and it looks absolutely brilliant. You can see it over the jump…