Review by Gareth Hides
[Note: This review does not contain spoilers]
*** “Michael Maloney is a joy to watch.”
All aboard for Agatha Christie’s classic whodunnit, Murder on the Orient Express, which has just arrived at the Curve Theatre in Leicester on its UK tour!
Murder on the Orient Express is one of Christie’s most famous novels featuring her beloved Belgian sleuth, Hercule Poirot (Michael Maloney), and his powers of deduction. Most people will be familiar with the story thanks to either the recent Kenneth Branagh film (2017) with its star-studded cast, or the 1974 offering with its equally stellar cast, featuring Albert Finney as Poirot. A stage adaptation has been a long time coming, perhaps for obvious reasons, until playwright Ken Ludwig penned his clever script, which premiered in the USA in 2017.
The story begins with Poirot, caught up in Istanbul in the 1930’s on his way back to London, and his chance meeting with old friend Monsieur Bouc (Bob Barrett) who runs the railway company responsible for the world-famous Orient Express. Bouc offers Poirot a berth on board as a goodwill gesture, with chaos ensuing when the train is halted by a snow drift in rural Yugoslavia. The subsequent murder of passenger Samuel Ratchett brings the veteran detective a case that brings more questions than answers. Everyone on the train becomes a suspect and it’s up to Poirot and his “little grey cells” to uncover the truth and expose the killer. The twist at the conclusion of the investigation is one of the most known endings of any in the Christie canon, yet Maloney’s energy as the plot reaches its climax still brings chills.
Indeed, Maloney’s Poirot was a joy to watch. He steered well clear of mimicking the iconic David Suchet, and yet captured the warmth of a character known and loved by so many. In many ways, Michael Maloney carries this production and delivers a captivating performance. He is supported by a good cast, notably Christine Kavanagh as the imposing Helen Hubbard and Paul Keating’s awkward Hector MacQueen.
Mike Britton’s design was a mixed blessing to this production. His elaborate set pieces brought a wow-factor as suitably lavish sections of railway carriage were revealed on the stage revolve. However, the set design subtracted more than it added. The first Act was punctuated with clunky scene changes as sections of the carriage were shunted around the Curve’s large stage by members of the ensemble and stagehands. There was a notable moment where a piece of set didn’t move when needed and required extra assistance. Though covered by Mic Pool’s sound design and underscoring, the set issues zapped the first half of momentum and energy. Thankfully, the set was maneuvered much less frequently in Act 2 which allowed the actors to fill the space without hinderance and bring Ken Ludwig’s sparkling script alive. Lucy Bailey’s direction was good, synthesising a largely naturalistic approach to most scenes with surreal moments of ensemble work with a splash of physical theatre. Sometimes the transitions between the two felt a little forced but overall, the contrast in styles made for some nice moments of theatre.
The denouement, and Poirot’s moral dilemma, provides the audience an opportunity to reflect personally on the tragic events they have journeyed with. When should mercy trump justice? And is it ever right to exact revenge for the evil of another? Do two wrongs ever make a right? In a small way, this play examines the inner struggle we all face to balance what is good and right with a hunger for justice. Overall, Murder on the Orient Express is an enjoyable night at the theatre, particularly for fans of Agatha Christie and period dramas, but is held back by its ambitious and impractical set design.
Star rating: *** (Three stars)
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