Agatha Christie is known throughout the world as the Queen of Crime. Her books have sold over a billion copies in English with another billion in foreign languages. She is the most widely published author of all time and, in many languages, outsold only by the Bible and Shakespeare. She is the author of 66 crime novels, 150 short story collections, over 20 plays, and six novels written under the name Mary Westmacott. Her work includes Murder on the Orient Express, Death on the Nile, and the genre-defining And Then There Were None.

Agatha Christie’s first novel, The Mysterious Affair at Styles, was written towards the end of the First World War, in which she served in the VAD. In it she created Hercule Poirot, the little Belgian detective who was destined to become the most popular detective in crime fiction since Sherlock Holmes. It was published by Bodley Head in 1920.

In 1926, after averaging a book a year, Agatha Christie wrote her first masterpiece. The Murder of Roger Ackroyd was the first of her books to be published by Collins and marked the beginning of an author-publisher relationship that lasted for 50 years and well over 70 books. ‘Ackroyd’ was also the first of Agatha Christie’s books to be dramatized –under the title Alibi –and to have a successful run in London’s West End.

By 1930, Agatha had introduced a new character to act as detective. When she created Miss Marple, Agatha did not expect her to become Poirot’s rival, but with The Murder at the Vicarage, Miss Marple’s first outing, it appeared she had produced another popular and enduring character.

The Mousetrap, her most successful play of all, opened in 1952 and is the longest-running play in history.

Agatha Christie was made a dame in 1971. She died in 1976.

Agatha Christie Limited (ACL) has been managing the literary and media rights to Agatha Christie's works around the world since 1955, working with the best talents in film, television, publishing, stage and on digital platforms to ensure that Christie’s work continues to reach new audiences in innovative ways and to the highest standard. The company is managed by Christie’s great grandson James Prichard.

Visit www.agathachristie.com for more information.

Lucy Bailey studied English at Oxford University where she directed the world premiere of Lessness by Samuel Beckett in consultation with the author.

Lucy co-founded The Print Room a new venue in Notting Hill Gate and was Artistic Director from 2010 - 2012 . Shows she directed include: Fabrication, Snake in the Grass, Kingdom of Earth and Uncle Vanya with Iain Glen. She was co-founder and co-artistic director of the gogmagogs (1995 – 2007) a music theatre company comprising seven string players. She directed/devised seven shows with the company which toured through UK, Europe, Scandinavia, Brazil, Australia and the US.

Upcoming productions include: The Hollow (UK Tour); Berlin (Kiln Theatre). 

Recent productions include: Hansel & Gretel (Longborough Opera); Magic, The Other Boleyn Girl (Chichester Festival Theatre); Murder on the Orient Express, Death on the Nile, And Then There Were None (UK Tours, Fiery Angel); Clive (Arcola Theatre); The Best Exotic Marigold Hotel (UK Tour); Glass Human (Glyndebourne Touring Opera); Much Ado About Nothing (Shakespeare’s Globe); Oleanna (Bath Ustinov/Arts Theatre, West End); Ghosts (Royal & Derngate Northampton); Switzerland (Bath Ustinov/West End); Cave (a site specific opera for London Sinfonietta and Royal Opera House, at the Print Works London); Love From A Stranger (Royal & Derngate/ UK tour); The Graduate (West Yorkshire Playhouse/Leicester Curve); Comus, A Masque In Honour Of Chastity (Sam Wanamaker Playhouse, Globe); Kenny Morgan (Arcola, London).
   
Other theatre credits include: Titus Andronicus, Macbeth, Timon of Athens, As You Like It, The Maid’s Tragedy (Shakespeare’s Globe); The Winter’s Tale, Taming of the Shrew, Julius Caesar (RSC/ Stratford/London/New York); Baby Doll, The Night Season (National Theatre/West End); Great Expectations, The Postman Always Rings Twice, Dial M for Murder (West Yorkshire Playhouse/West End/UK tour); Gaslight (Royal & Derngate); The Importance of Being Earnest (West End/UK tour); Fortunes Fool (London’s Old Vic); King Lear (Theatre Royal Bath); The Beggar’s Opera (Regent’s Park Open Air Theatre); Private Lives, Glass Eels, Comfort Me with Apples (Hampstead); Don’t Look Now (Crucible, Sheffield/Lyric Hammersmith); Tonight at 8.30, Stairs to the Roof (Chichester Festival Theatre).
 
Opera credits include: Gudrun Fier Sang (Copenhagen dry dock); Jenufa (English National Opera); Cheryoumushki 1958 (Lyric Hammersmith); Noyes Fludde, Triptych, Mary of Egypt (Aldeburgh Festival); Pasolini’s Teorema (Maggio Musicale Florence/Munich Biennale/Queen Elizabeth Hall); Mitridate (Wexford Opera Festival).

William’s distinguished career as a designer of theatre and opera has been recognised with seven Olivier awards and a further seven nominations. He won a BAFTA for Persuasion.  In April 2015 he won the Molière Award for Visual Creation for The Dance of the Vampires in Paris. He has designed over sixty productions at the National Theatre, including The Mysteries, Coast of Utopia and The Rise and Fall of Little Voice. At the Royal Court he designed Hamlet, Kafka’s Dick and Hitchcock Blonde (Oliver Award). Work at the RSC includes Julius Caesar (also New York), Merry Wives of Windsor (Olivier Award) Twelfth Night, Richard II & III and A Midsummer Night’s Dream. West End productions include The End of the Rainbow, All My Sons, Woman in White, My Night with Reg and Lenny, with many transfers to the USA.

Recent designs include: Switzerland (Bath Ustinov & Ambassador’s Theatre); Comus (Sam Wannamaker Playhouse); Ross, The Rehearsal and For Services Rendered (Chichester Festival Theatre); Gaslight (Royal and Derngate); The Importance of Being Earnest (West End and UK tours), Fortunes Fool (Old Vic); Titus Andronicus (Shakespeare’s Globe); and Fings Ain’t Wot They Used T’Be (Stratford East). Dudley designed the sets for Roman Polanski’s musical The Dance of the Vampires (Vienna, Berlin, Paris and Russia); The Ship (for European Cultural Capital Glasgow 1990); Peter Pan (Kensington Gardens, O2 and US tours); 
The Last Confession (world tour) and Sunday in the Park with George (Théâtre du Châtelet).

Opera credits include: Productions for Bayreuth, Salzburg, the Metropolitan Opera Opéra National de Paris, Royal Opera House, English National Opera and Glyndebourne.

Mic has designed the sound for 8 other productions directed by Lucy Bailey; Best Exotic Marigold Hotel (UK Tour); The Postman Always Rings Twice, Dial M for Murder, Fortunes Fool, Gaslight, Around The World in 80 Days, The Graduate, and Switzerland.

West End and Broadway credits include: Art (West End, Broadway and Worldwide); No’s Knife (Old Vic and Abbey Dublin); Brand, Breakfast at Tiffany’s (Haymarket); The King’s Speech (Wyndham’s); The Madness of George III (Apollo); The Unexpected Man, The Hound of the Baskervilles (Duchess); When We Are Married (Savoy); Dr Faustus (Fortune) and The 39 Steps (West End and worldwide) for which he received a Tony Award - Best Sound in a play for the Broadway production.

Other work includes: The Captain of Kopenick (National Theatre); A Midsummer Night’s Dream, The Seagull, Victoria, Beauty and the Beast, The Roundhouse Season of Late Shakespeare Plays (RSC); Band of Gold, Abigail’s Party, Vulcan 7 (UK Tours); Alzira (Buxton International Festival); Kathleen Turner-Finding My Voice (The Other Palace); Deny, Deny, Deny (Park); Silver Lining, The Real Thing (ETT); Beryl (WYP, UK Tours and Rose); Single Spies (Rose Theatre Kingston); The Stopping Train, Overworlds and Underworlds (Gavin Bryars); Smoking with Lulu, The Night Before Christmas, Roller Diner, Blueberry Toast (Soho); Our Country’s Good (Out of Joint); Touched, Faith Healer, Restoration (Royal Court); You Never Can Tell, The Ice Chimney, Summer with Monika (Lyric Hammersmith); Shockheaded Peter, Rambert Dance Company (international tours).

Ben is an Anglo Sri Lankan Casting Director, specialising in stage and musical theatre. He has solo and assistant casting credits for acclaimed productions in the West End, regional repertory theatres, No.1 UK tours and international projects. He is also the founder of “RepresentAsian” - an initiative to boost representation in theatre for the Asian community, alongside fundraising to provide scholarships for young Asian kids to train in the performing arts.

Ben is a probationary member of the CDG.

For Ben Armstrong Casting: You & It (King’s Head Theatre); Once On This Island (Theatre Royal Drury Lane); Anne Of Green Gables (Sadler’s Wells); Nezha (Shaw Theatre); Saving Mozart (The Other Palace); The Shocking Truth About Flat Earth (Riverside Studios); Paradise Road (BEAM25); The Story Of My Life (Stage Door Theatre); Go! The Musical (Upstairs at the Gatehouse); Happy & Glorious (Short Film)

Workshops & Readings: Love From The Pink Palace, Unseen, Sunflowers (Jermyn Street), The Most Beautiful Man In New York, Māyā, The Musical (Casting Associate), Avalon.

As Casting Assistant to Ginny Schiller CDG: A Man For All Seasons (UK Tour); The Pianist (Park Theatre); The Hollow (UK Tour); Present Laughter (UK Tour); Franz And Marie (Charing Cross); Donald (Ustinov, Bath); The Sea (Theatre Royal Bath); The Market Deeping Model Railway Club (Nottingham Playhouse); Equus (Menier Chocolate Factor); Dear Jack, Dear Louise (Arcola); Yentl (Marylebone Theatre); The Secret Garden (York Theatre Royal); Magic (Chichester Festival Theatre); Easy Virtue (Cambridge Arts); Endgame (Ustinov, Bath); Paranormal Activity (West End/UK Tour); Blithe Spirit (Salisbury Playhouse); Seagull: True Story (Marylebone Theatre); Who’s Afraid Of Virginia Woolf (Leicester Curve); Eureka Day (Nottingham Playhouse); Inspector Morse: House Of Ghosts (UK Tour); Midsomer Murders: The Killings At Badger’s Drift (UK Tour); Emma (UK Tour); Educating Rita (Barn Theatre Cirencester); The Deep Blue Sea (Theatre Royal Haymarket); As You Like It (Theatre Royal Bath); The Score (Theatre Royal Haymarket); Ghost Stories (UK Tour/Peacock Theatre); Little Women (UK Tour); The Girl On The Train (UK Tour); Alfred Hitchcock Presents (Theatre Royal Bath); The Curious Case Of Benjamin Button (West End); A Christmas Carol: A Ghost Story (Birmingham Rep/Alexandra Palace)

Matt is a theatre director and practitioner. He has worked across the West End as well as in regional venues and drama schools. Predominantly staging new plays and musicals.

Credits as Director: Alice’s Adventures in Wonderland (Orange Tree Theatre); Carousel - Ivo Graham (Park Theatre/Edinburgh Fringe); The Jungle Book (Chichester Festival Theatre); The Ballad of Rudy (Cornerstone Theatre/Tour); Piano Play (The Other Palace/Edinburgh Fringe/Tour); What Was Left (Southwark Playhouse); Heathers: The Musical (Mountview); Earthquakes in London, Let the Right One In (LAMDA); Mixtape, The Factory and We Were Told There Was Dancing (Royal Exchange Theatre).

As Associate Director: The Odyssey (National Theatre); A Knight’s Tale (Manchester Opera House); Here & Now (National Tour); Witness for the Prosecution (County Hall); 2:22 - A Ghost Story (West End); Queens of the Coal Age (Royal Exchange Theatre and New Vic Theatre); Nothing and Brink (Royal Exchange Theatre).

As Assistant Director: Great British Bake Off: The Musical (Cheltenham Everyman); Shadowlands (Chichester Festival Theatre); All I Want is One Night (Royal Exchange Theatre).

Matt is a trustee of Told By An Idiot Theatre Company, was Resident Director at the Almeida Theatre and the Young Company Director at the Royal Exchange Theatre from 2014-2018, seeing the company win School of the Year at The Stage Awards in 2018.

Ben was most recently the Bryan Forbes Assistant Director with the National Youth Theatre’s REP Company. He was previously Creative Associate at Jermyn Street Theatre, and Resident Director at the Oxford Playhouse.

Alongside his work as a Director, Ben has collaborated with the Young Vic, Headlong, The North Wall Arts Centre, Masterclass Theatre Trust, Guildford Shakespeare Company, BBC, Rifco Theatre Company and Chichester Festival Theatre, where he was part of its pilot Artist Development Programme.

Training: Bryan Forbes Assistant Director at the National Youth Theatre, MFA Advanced Theatre Practice at The Royal Central School of Speech and Drama, BA (Hons) Drama & English at Queen's University Belfast.

Director credits include: Passages: Meet Me Hire (Kiln Theatre); Who Are We When The World Breaks?: NYT REP Scene Study (Workshop Theatre - National Youth Theatre); Goodnight Maharajah (Cockpit Theatre); The Witches of Eastwick, Footloose (POSK Theatre); The Periodicals (MAST Mayflower Studios); Boy In Da Korma (Jermyn Street Theatre & Pleasance Attic, Edinburgh Fringe Festival); Troy Story (Underbelly – Belly Button, Edinburgh Fringe Festival); New Voices for a New World, Primary Playmaker (Oxford Playhouse); RawTransport™ (The Vault Festival).

Assistant Director credits include: Let The Right One In (Underbelly Boulevard); Dracula (Workshop Theatre - National Youth Theatre); Odyssey: A Heroic Pantomime (Jermyn Street Theatre); Leave it to Puck!, Birdland, Robin Hood (Oxford Playhouse); 21 Futures (Pleasance Dome, Edinburgh Fringe Festival).

Joan has worked extensively with William Dudley and Lucy Bailey on many productions, including, Gaslight (Theatre Royal Windsor); Switzerland (Art's Theatre); Uncle Vanya (Print Room), Fortune's Fool (Old Vic); Winter's Tale (RSC), The Rehearsal, For Services Rendered (Chichester Festival Theatre); The Importance of Being Earnest, All My Sons, End of the Rainbow (West End); Fings Ain’t wot They Used to Be (Stratford East), as well as Witness for the Prosecution.

Recent productions include: A View from The Bridge, The Enfield Haunting (West End); Deep Blue Sea (Theatre Royal Bath); A Christmas Carol (Nottingham Playhouse/West End); Ava (PW Productions); An Hour and a Half Late (Theatre Royal Bath); Best of the West End (RAH); Uncle Vanya (Theatre Royal Bath); King Lear (Chichester Festival Theatre and Duke of Yorks); American Buffalo (Wyndhams Theatre); Killer Joe (Whitehall Theatre); An Ideal Husband, Stepping Out (Vaudeville Theatre); Bug and Fool for Love (Found111); Room with a View (Theatre Royal Bath); Richard II (Shakespeare’s Globe).

Other Theatre Credits include: As You Like it, Measure for Measure, The Rivals, Waiting for Godot, Henry IV, Pygmalion (Peter Hall Company). 

Claire is an Associate Fight Director with Rc-Annie Ltd.

Recent Fight Direction credits: Red Speedo (Orange Tree Theatre); Two Gentlemen of Verona (Oxford Playhouse); Macbeth (Leeds Playhouse); The Fair Maid of the West (RSC); Feral Monster (National Theatre Wales); HIR (Park Theatre); Unfortunate (Southwark Playhouse and UK Tour); Peter Pan (Rose Theatre Kingston); Pride and Prejudice *sort of (Mirvish Theatre, Toronto); Never Have I Ever (Chichester Festival Theatre); The Life of Pi (Tour); Maud/Down in the Valley (Scottish Youth Opera); Midsummer Mechanicals (Shakespeare’s Globe); Peter Pan (Reading Rep); Around the World in 80 Days (Theatre by the Lake/Hull Truck); Kidnapped (National Theatre Scotland and Tour); Duet for One (Orange Tree Theatre); The Walworth Farce (Southwark Playhouse); Caucasian Chalk Circle (Rose Theatre); Oklahoma (West End); Pride and Prejudice sort of (Criterion Theatre and UK Tour); Evelyn (Metal Rabbit Productions); To Kill a Mockingbird (Sonia Friedman Productions); Wonder Boy (Bristol Old Vic); Macbeth (Leeds Playhouse); 71 Coltman Street (Hull Truck); Beauty and the Beast (Rose Theatre, Kingston); Carmen (OperaNorth); Don Giovanni (Nevill Holt Opera); Witness for the Prosecution (London County Hall); The Prince of Egypt (Dominion Theatre, Associate FD).

Eleanor Lloyd: Producer
Cat Gray: Associate Producer & General Manager
Hart Fargo: Associate Producer
Jodie Gilliam: Assistant General Manager
Isobel Griffiths: Assistant General Manager
Claire Leung: Office Assistant and Assistant to Eleanor Lloyd 
Lisa Spirling: Creative Associate

Current productions include: SYLVIA, the Olivier-Award winning musical starring Beverley Knight (UK tour and Royal Albert Hall); Bloodsport by Ava Pickett at Theatre Royal Straford East; Shifters the Olivier-nominated play by Benedict Lombe (Cherry Lane Theater, New York); Agatha Christie’s Witness for the Prosecution, now in its tenth year at the specially created theatre in London’s County Hall. 

Upcoming productions include: Sherlock Holmes and the 12 Days of Christmas at Alexandra Palace. 

Recent productions include: Here There Are Blueberries (Stratford East); The Manningtree Witches (Mercury Theatre, Colchester); The Ladies Football Club (Sheffield Crucible); Ava Pickett’s adaptation of Emma at the Rose Theatre; Not Your Superwoman at the Bush Theatre starting Letitia Wright and Golda Rosheuvel; Beth Steel’s Till the Stars Come Down at the Theatre Royal Haymarket; The Last Stand of Mary Whitehouse at Nottingham Playhouse starring Maxine Peake; Shifters (Duke of York’s); Deborah Frances-White’s debut play, Never Have I Ever (Chichester Festival Theatre); Eddie Izzard’s Hamlet (Riverside Studios) and Great Expectations (Garrick); Prima Facie on Broadway; the Olivier Award- nominated Vardy v Rooney: The Wagatha Christie Trial (Ambassadors and tour); Best of Enemies (Noël Coward); The Collaboration (Young Vic and Friedman Theater, Broadway); Constellations (Vaudeville – winner of two Olivier Awards); new play Emilia (Vaudeville – winner of three Olivier Awards). 

Eleanor co-owns Tilted Sessions which is currently producing Uncanny, Brown Girls Do It Too and Something Rhymes with Purple.

Eleanor co-owns Tilted Sessions, a live podcast production company which is currently producing Uncanny, Brown Girls Do It Too and Something Rhymes with Purple. www.tiltedco.com. 
 
Eleanor Lloyd was awarded an OBE in the 2025 New Year’s Honours. She was President of the Society of London Theatre (SOLT) from 2020-2024. Eleanor sits on the boards of the Bretforton Grange and Theatrebarn and Stage One. 

Current productions include: Witness for the Prosecution (Olivier Nomination – Best Revival, London County Hall).

Rebecca is an independent theatre producer and general manager. She is a leading producer of site-specific theatre and her particular area of expertise is producing theatre at prestigious heritage sites in London and across the UK. Rebecca is credited as being the originating producer of the first ever site-specific staging of Agatha Christie’s gripping courtroom drama Witness for the Prosecution which is now in its tenth year at the magnificent London County Hall.

Other Productions include: Shakespeare in Love (Associate Producer/UK Tour); Frankenstein Revelations (Site-Specific); Moby Dick (Site-Specific); Witness for the Prosecution (Regional Tour/Site Specific); The Importance of Being Earnest (Site-Specific); The Strange Case of Dr Jekyll & Mr Hyde (Site-Specific); Sherlock Holmes and the Speckled Band (Regional Tour/Site Specific).

Rebecca was awarded a Stage One Producer’s Bursary in 2016 and a Start-Up Fund award in 2017 which is supported by the Society of London Theatres (SOLT).