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.

Recent productions include: Murder on the Orient Express (UK Tour); The Other Boleyn Girl (CFT); And Then There Were None (Royal & Derngate/UK tour/China); 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 Ernest (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).

West End credits include: Witness for the Prosecution (2017-2026), The Mousetrap, Killer Joe, Adrian Mole and The Wider Earth. 

Recent workshop: Danny Champion of the World (Roald Dahl Story Company). 

UK Tours include: War of the Worlds, Frankenstein, Macbeth (imitating the dog), The Shark is Broken (Kenny Wax Productions), Birdsong, The Mirror Crack'd, Murder at Midnight, The Croft, The Night Watch, Night Must Fall, Wait Until Dark (Original Theatre), (the) Woman, The Swearing Jar (New Perspecrives), And Then There Were None (Fiery Angel), Handbagged, Dusty (Eleanor Lloyd Productions), Arcadia (ETT), As You Like It (Shared Experience), The Turn of the Screw (Dermot McLaughlin Prods). 

Regional credits include: Romeo & Juliet (Liverpool Everyman), Death and the King’s Horseman, The Hypochondriac (Sheffield Crucible); Little Women, The Secret Garden (York Theatre Royal), A Christmas Carol (Bolton Octagon), This is a Love Story (Birmingham Hippodrome); A Christmas Carol, Welfare, Alice in Wonderland (Derby Theatre); Dancing at Lughnasa (Lyric Belfast); Playhouse Creatures, Blue Remembered Hills & Fred’s Diner (Chichester Festival Theatre); Peter Pan & Hansel and Gretel (Rose Theatre Kingston); They Won’t Pay! We Won’t Pay! (Mercury Colchester); The Glass Menagerie (Nuffield); William Wordsworth, Miss Julie, After the Dance (TBTL); Ladies Day (Wolverhampton Grand). 

Other London credits include: Heartsink (Riverside Studios), (the) Woman, Antigone (on strike), 23.5hours, Madame Rubinstein & The Gathered Leaves (Park Theatre); Ages of the Moon & The Permanent Way (Vaults); Fool for Love (Found111); The Girl Who Fell, A Guide for the Homesick, 3 Women (Trafalgar Studios); Children of the Night, Romeo and Juliet, A Lie of the Mind, Doubt (Southwark); Dirty Great Love Story (Arts); Sideways (St James). 

Immersive credits: Elvis Evolution, The War of the Worlds, The Gunpowder Plot. 

Children’s casting: The King and I, Wind in the Willows (London Palladium); Macbeth (UK Tour - Wessex Grove).

As Director: We Shadows (Royal Academy of Music); Songs and Stories from the Atomic Town (Theatre by the Lake); All the Boggles of Derwentwater (Theatre by the Lake); Not Something Other People Do (Curve Online); LE3 Writers’ Showcase (Upstairs at the Western); The Best Play Ever (Delicious Theatre, Edinburgh Fringe); Little Shop of Horrors (Delicious Theatre, Edinburgh Fringe).

As Associate Director: Witness for the Prosecution (London County Hall); A Christmas Carol (Alexandra Palace); Make It Happen (National Theatre of Scotland, Dundee Rep, Edinburgh International Festival); The Curious Case of Benjamin Button (Ambassadors Theatre, West End); RUM (Max Emmerson Productions UK Tour); A Christmas Carol (Birmingham Rep); A Christmas Carol (Nottingham Playhouse, Alexandra Palace); Roman Holiday (Theatre Royal Bath).

As Resident and Assistant Director: The History Boys (Theatre Royal Bath & UK Tour); West Side Story (Curve); My Beautiful Laundrette (Curve & UK Tour); The Entertainer (Curve); Mixtape (Royal Exchange Theatre). 

Emily has been a visiting director at leading drama schools: The Royal Academy of Music, Arts Ed, Rose Bruford College and the International College of Musical Theatre.

Training: MFA Theatre Directing at Birkbeck, Young Director at Royal Exchange Theatre, University of Manchester Drama BA First Class (Hons).

Lorna is an emerging theatre director from the Midlands with a BA from the University of York in Theatre: Writing, Directing and Performance.

Assistant director credits include: Murder on the Orient Express Workshops (UK tour); Sweating the Small Stuff (Edinburgh Fringe Festival).

Director credits include: As We Face the Sun (Edinburgh Fringe Festival); How My Light is Spent (Edinburgh Fringe Festival). 

Directing credits whilst training: Miss Poppycock (TFTI Studio); In Two Minds (Drama Barn).

Witness for the Prosecution is Lorna’s West End debut. She has extensive experience working in community theatre with a focus on accessibility within the arts.

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: Creative Producer
Lisa Spirling: Creative Associate
Jodie Gilliam: Assistant General Manager
Isobel Griffiths: Assistant General Manager

Current productions include: Agatha Christie’s Witness for the Prosecution, now in its ninth year at the specially created theatre in London’s County Hall, Here There Are Blueberries at Stratford East, Ava Pickett's The Manningtree Witches at the Mercury Theatre, Colchester, and The Ladies Football Club at the Sheffield Crucible. 

Upcoming productions include: SYLVIA, the Olivier-Award winning hip-hop, funk and soul musical starring Beverley Knight, which is touring the UK tour, including the Royal Albert Hall, in Autumn 2026. 

Recent productions include: 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, a live podcast production company 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 and now serves as Vice President. 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 eighth 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).