First published in 1934, ‘Murder On The Orient Express’ continues to be one of Dame Agatha Christie’s most cherished and iconic novels. It stands as a true testament to her genius, beloved and reimagined time and again in the 90 years since she wrote it. It’s easy to see the attraction – a gathering of mysterious and colourful high society characters are trapped in a snowdrift aboard the world’s most iconic and luxurious train. As if that is not enough drama, there has been a particularly grizzly murder to boot. Claustrophobic, tense and gripping, the premise is as exciting today as it was all those years ago. I find it fascinating to think that Christie based her story on a couple of real-life events that intrigued her – the horrifying kidnapping of Charles Lindbergh’s young son in 1932, and the stranding of the real life Orient Express in snow for 5 days in 1929. But unlike in those real life horrors, we need not fear, for our fictional train has one very special passenger – Monsieur Hercule Poirot. Can the Belgian sleuth put his ‘little grey cells’ to work to solve the mystery before the killer strikes again? I think we all know the answer to that from the outset, but that’s beside the point!
This adaptation for the stage stays true to the 1930’s setting, which is absolutely perfect because the Art Deco opulence is a character in its own right. Mike Britton’s set design is nothing short of ingenious. The best part of the action takes place on the train – within its individual opulent rooms and sumptuous but tight corridors – which you might imagine to be a nightmare to stage. However, Britton’s train twists and turns and opens up to reveal itself to us at every opportune moment. We feel like we are travelling in style too. There is clever use of a revolving floor which contributes to a sense of fluidity and movement and the atmospheric haze doubles for steam and smoke as you might expect. The overall impression is genuinely incredible. Coupled with Ian William Galloway’s moody and deeply evocative video backdrop and Oliver Fenwick’s clever lighting design, this feels like a very classy affair from the outset.
The assembled players more than suit their elegant surroundings too. The costumes by Sarah Holland are exquisite. Beautifully dressed and coiffed, each cast member delivers their role with skill and verve. Hercule Poirot is expertly inhabited by Michael Maloney. Dapper, mustachioed and with all of the idiosyncrasies that you’d hope to see, Maloney’s Poirot is sharp, dignified and measured whilst at the same time energetic and excitable. Immediately dispense with all of the comparisons with Suchet and Brannagh – this is a Poirot that stands on its own – a tour de force of a performance.
Our victim is one Samuel Ratchett, a loathsome and angry man from the outset. Simon Cotton is brooding and serious in the role and it’s a shame that, for obvious reasons, he doesn’t appear too much in Act Two. Christine Kavanagh demands our attention in the best possible way as eccentric Helen Hubbard, stealing every scene she is in. Her verbal sparring with Debbie Chazen’s Russian aristocrat is particularly superb. There are so many wonderfully comedic moments throughout their scenes together.
Mila Carter gives us a very suitably enigmatic and elegant Countess, and Bob Barrett’s kindly and jovial Monsieur Bouc is full of charm and warmth. I’ve read the novel and seen so many adaptations that I know full well how it all wraps up, but that does not hinder my enjoyment one iota. This cast draw out new insights and play together so well that it really is a joy to behold even if you know the story well.
Direction by Lucy Bailey is splendidly pacy, notwithstanding some occasionally lengthy set changes in Act One which are understandable given the nature of the staging, and actually serve to add to the sense of the journeying of the train.
Ken Ludwig has cleverly blended horror, wit and suspense into his adaptation – his re-telling of the story is immersed in its period yet truly illustrates that it stands the test of time. I absolutely LOVE this production.
If you, like me, adore art deco opulence, travelling in style and solving mysteries in the company of Belgium’s finest detective, get yourself a ticket and get on track for a grand night out. It really is quite the ride! All aboard the Orient Express for a truly theatrical extravaganza! She departs Nottingham nightly until Saturday 5th April 2025. Don’t miss out!
