Review: MURDER ON THE ORIENT EXPRESS, Kings Theatre
Agatha Christie's tale keeps the suspense on track with a derailing plot twist.
A frontrunner of the murder mystery trope, Agatha Christie's Murder on the Orient Express (adapted by Ken Ludwig) keeps the suspense on track with a derailing plot twist.
A train passenger is murdered, and Belgian sleuth Hercule Poirot (Michael Maloney) must find the culprit. Suspects are portrayed as amusing caricatures, ranging from a shrieky missionary to a mansplaining gangster and a bold American actress. The exposition drags a little as we are slowly introduced to everyone, but the second act showcases an imaginative, quirky take on the acclaimed mystery.
Mike Britton's ambitious set design features intricate train compartments that are impressively reconfigured throughout the piece, though lengthy scene transitions prove a little distracting. His 1930s costumes beautifully reflect each character's personality, while director Lucy Bailey cleverly inserts abstract sequences into the naturalistic plotline.
Scenes are crowded, yet every actor holds their own. Maloney's portrayal of Poirot is masterful – he navigates a challenging journey from methodical complacency to alarmed consternation, grappling with the moral implications of the final plot twist. Debbie Chazen's princess is hilariously feisty, Mila Carter unravels two different characters with ease. The piece ends with an important social critique leaving us wondering: what crime is the inspector truly inspecting?
A well-acted, welcome interpretation of a classic tale.
Murder on the Orient Express is at Kings Theatre until 26 October
Photo Credit: Capital Theatres
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