Writer: Agatha Christie
Adaptation: Ken Ludwig
Director: Lucy Bailey
In winter of 1934 an avalanche stops the most famous train on its most famous journey and the occupants of the Orient Express find themselves trapped in the snow with a killer on board and only Agatha Christie’s Hercule Poirot to crack the case. Ken Ludwig’s adaption of one of Christie’s best known works sets off on its journey with Norwich as the first station stop in a show which works to bring to life her eclectic cast of characters while keeping her signature cosy feel in the wide open theatre space.
Taking up the mantle as Hercule Poirot is Michael Maloney in a role that is no small feat. Thanks to the wide spread fame of the source material, not to mention countless film and television adaptations, and the iconic performance of Kenneth Branagh, Poirot is certainly a challenging role for any actor to put their own stamp on. Maloney, here, does a standup job. His Poirot is amusing, difficult, and when pushed just a little scary and certainly holds the threads of the mystery together while rarely dropping that signature Belgian pronunciation. Opposite him, Bob Barrett’s accent is brought a little uncomfortably to the fore as it sits somewhere between English, French, and American and is at times a little off putting.
Aside from Maloney’s Poirot the two standouts of the cast come from somewhat unexpected places in Jean-Baptiste Fillon’s Michel and Debbie Chazen’s Princess Dragomiroff. Fillon’s portrayal is consistent and understated and allows for an emotional punch when he takes the chance to show a little more range in the closing act. Chazen’s Princess meanwhile is the necessary light relief from beginning to end and brings some excellent side-eye and exasperation to proceedings.
To create a play based on a train would always be a challenge for set design (Mike Britton) and is one in this case which has some inspired ideas but some issues in execution. The train pieces moving around the stage to give us front and back views of carriages as well as having additional pieces to appear at the sides does work to create space and move the audience with Poirot’s investigation. In practice, it’s unfortunate that there are times that the pieces prove clunky or transitions don’t go entirely to plan.
This production of Murder on the Orient Express doesn’t necessarily offer anything that hasn’t been seen before in an adaption of Christie, and there are some areas of stepped on lines and temperamental props that could run a little more smoothly but the production is still firmly on track. The cast bring together Christie’s characters and the essence of the cosy mystery and audiences will certainly enjoy once again trying to solve whodunnit.
Runs Until: 21 September 2024
The Reviews Hub Score
Still on Track
