The Witness

Time Out“Compact and forceful new play...” There are a couple of heavy-handed twists and the gears take a few scenes to bite, but Simon Godwin's patient direction and a detailed set by Lizzie Clachan keep the plot's more extravagant convolutions under control...

Financial Times“A brilliant balance...” I cannot remember when last I saw a play that was so open and direct without also descending periodically into crassness...

Evening Standard“Simon Godwin skillfully marshals...” It’s outstanding stuff, and if the BBC had any gumption, they’d film it instantly as a Play for Today...

The Telegraph“Powerful, original and deeply moving...” In its combination of pain, dark humour, and powerful plotting, The Witness confirms Franzmann as a dramatist of outstanding gifts and promise...

The Arts Desk“Powerful and a bit undramatic... ” Franzmann’s playwriting lacks character and her storytelling, while perfectly efficient, is occasionally clichéd and often predictable...

Guardian“Never gives us both sides of the story...” It has a certain dramatic effectiveness, it stacks the cards too heavily against its protagonist...

Exeunt“Assured and morally complex...” If Franzmann sometimes gets in her own way as she layers on the twists, she has written a gripping and thought-provoking piece of theatre...

Whatsonstage.com“The play takes a long time to click into gear...” The play never resolves the matter it initially proposes, that of how reporters like Joseph, scarred by his experience in Vietnam, or the late Marie Colvin, are supposed to operate without becoming “involved” at some stage...

The Stage“Emotionally complex and beautifully observed...” The shift in dynamics is well handled and, while there’s perhaps one emotional upheaval too many, the piece develops in ways that are - mostly - unexpected and exciting...