Without a doubt, Agatha Christie’s novel Murder on the Orient Express is her finest and most famous work, offering up complex questions surrounding morality and what it means to abide by the law.
Due to the multifaceted nature of this murder mystery, adaptions for film, TV, and theatre can vary drastically in tone, from the serious to the comedic. In one of the most well known adaptions, starring David Suchet, Poirot is as sombre as the grave, particularly in the poignant final scene when he holds onto his rosary with such solemnity in his eyes.
Ken Ludwig’s theatrical adaption of Murder on the Orient Express, running at Southampton’s Mayflower Theatre from February 18 to the 22, expertly balances humour and serious contemplation but leans more into the comedy than other adaptions. This is no small feat and is successful due to the combination of Ludwig’s witty writing, Lucy Bailey’s well considered direction, and the strong performances from the actors. What is cut and what is kept of Christie’s original novel is well considered, making this a streamlined show which is so enjoyable that the two hours in the theatre speed by like a locomotive.
In regards to the cast, there is not one weak link. Michael Maloney wows as Hercule Poirot, capturing his charm and intense energy in every line and gesture. Bob Barrett delivers what is by far the most amusing performance in the play in his role as Monsieur Douc. Taking on the role of Russian Princess Dragomiroff, Debbie Chazen is a master of comedic timing. Christine Kavanagh is captivating in her performance as Helen Hubbard, landing every emotional beat and every funny quip. The rest of this wonderful cast, stretching to the spectacular ensemble, really give it their all.
As for the mise-en-scene, the stage is a work of art. Designer Mike Britton’s moving sets of the different train compartments are wonderful, simultaneously creating a sense of claustrophobia whilst the movement propels the action of the play. The use of video, as designed by Ian William Galloway, fleshes out the stage to create a full world and is thoughtfully used to build on important plot points; these videos often act as way to immerse the audience within the narrative, as though discovering clues alongside Poirot. The sound design by Mic Pool and the lighting design by Oliver Fenwick are also notable, purposefully elevating scenes. The costumes, hair, and makeup mirror characters well whilst also fitting the time period, thanks to the work of Sarah Holland and Elizabeth Marini.
Overall, it is a truly enjoyable show both for those who know the story well and for those who don’t. It is refreshingly different from other adaptions but does not skimp on what makes Christie’s Poirot so well loved by readers and audiences alike.
Tickets for Murder on the Orient Express (Tuesday 18 – Saturday 22 February 2025) are on sale at mayflower.org.uk or 02380 711811.
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