Ken Ludwig's stage adaptation of Agatha Christie's "Murder on the Orient Express" certainly offers a fresh and engaging take on the classic “who dunnit”. This production brings together a talented ensemble under the direction of the talented Lucy Bailey.
Michael Maloney delivers an engaging performance as the meticulous detective Hercule Poirot. His portrayal captures Poirot's distinctive blend of intellect and subtle humour. Maloney's extensive experience in film and television allows his talent to shine through in his nuanced depiction of the iconic character.
The supporting cast also excels at bringing the unlikely collection of passengers to life. Bob Barrett stands out as Monsieur Bouc, infusing the role with charm and wit and bringing just the right amount of laughter to the often-flustered railway manager.
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Barrett, another familiar face from television screens, shares an endearing on-stage chemistry with Maloney. Debbie Chazen, as Princess Dragomiroff, also has some wonderful but very subtle comical lines, which she delivers with perfect timing and intensity.
Lucy Bailey's direction gives a well-paced narrative that maintains suspense throughout. The production effectively balances moments of tension with humour. But it was unfortunate that the sound wasn’t as good as most productions at the Mayflower, and, on occasion, the dialogue was a little lost. However, this was a minor distraction and might have been a slight technical issue on the night.
The visuals, however, were a delight. Mike Britton’ sets deserve special mention. From the opening, atmospherically lit, empty stage, the set was cleverly built and adjusted throughout the evening, including the recreation of the luxurious train interiors of the period.
The audience was immersed in the 1930's setting, enhancing the story's atmosphere. The excellent lighting throughout the performance contributed to the immersive experience, effectively conveying the isolation of a train and drawing the audience's eyes to the exact point that the director wanted.
Ken Ludwig's adaptation stays true to the essence of Christie's original work while introducing enjoyable and more contemporary subtleties. It is paced in such a way that those who know “who dunnit” and those who didn't could enjoy the performance equally. The final revelation scene is a testament to the production's careful construction throughout the evening.
This is a well-crafted and very well-acted production, with a clever and effective set design that transports the audience to a different time and place through Christie’s timeless charm.
Review by Peter Nicholson
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