I can’t remember the number of times I’ve seen this Agatha Christie murder mystery but safe to say it’s enough to ensure that I have finally grasped the plot.
Anything penned by the late Queen of Crime usually has me stumped and this well-known tale of a gruesome killing on board the opulent Orient Express is as complicated as any, with more twists and turns than the route of the famous train that has all suspects nicely confined on board. But I love a good Christie – and it’s clear from the off that this new production, an adaptation by American writer Ken Ludwig; directed by Lucy Bailey, is a good un – and for once I can actually sit back and enjoy the ride.
I feel quite smug as we meet familiar characters – and we’re introduced to a rich assortment of passengers during a restaurant scene where a slowly-revolving set brings their tables, with intriguing snatches of conversation, around in turn. Among them, of course, is Hercule Poirot, played here by TV regular Michael Maloney, known for the likes of Young Victoria and The Crown, who has a hard job to follow given how David Suchet is synonymous with the role he played on screen for so long.
But Maloney embodies the heart of the character, plus a touch of his youthful vigour when we see him around attractive women, and we warm to Poirot all the more as he navigates his way through encounters on this shared train journey with an array of larger than life characters, played by an ensemble cast who clearly revel in every moment.
From Bob Barrett’s Monsieur Bouc, friend of Poirot and train company employee, to temptress Helen, played by Christine Kavanagh, they are all on sparkling form. There are laughs to be had, not least from these two, but this is a dark story and involves a remarkably gory murder.
Michael Maloney as Hurcule Poirot in Murder on the Orient Express. Credit: Manuel Harlan
(Image: Manuel Harlan)
So, when Poirot’s sharp mind is set to work after Simon Cotton’s intimidating American tycoon Ratchett is stabbed to death, we soon see a different side to the genial detective. I wouldn’t want to spoil it for those who don’t know the tale, if any still exist, but this intriguing whodunnit – and whydunnit – is rife with deception and secret identities and a shared knowledge permeates the lavish surroundings of the liveried carriages.
Of course Poirot gets to the bottom of it but it takes its toll. I loved the show’s staging and its atmospheric 1934 setting and the tension increases when the train comes to an abrupt halt, stopped in its tracks by an avalanche, trapping everyone on board.
The cast of Murder on the Orient Express. Credit: Manuel Harlan
(Image: Manuel Harlan)
Throughout, the train set has a starring role all its own. With a side-on view of the express, we watch through its windows as the action takes place in separate cabins, illuminated by golden lamplight against walnut veneer walls. Then inter-locking carriages are moved around so that we glimpse what’s happening inside other compartments then bear witness to scenes in the corridor.
The saying that it is better to travel hopefully than to arrive certainly has a ring of truth here. With the question of justice in debate, reaching the train’s final destination means a decision between right and wrong needs to be made.
The cast of Murder on the Orient Express. Credit: Manuel Harlan
(Image: Manuel Harlan)
With the jigsaw pieces finally assembled by the great detective with a final flourish, we see the usually sure-footed, self-assured Poirot is left a little unsteady and uncertain. I might have known the story from the TV re-runs but I’d forgotten his moral dilemma and it adds an extra twist.
The show closes with an update where we find the decision made is one that often keeps Poirot awake until the early hours. This cracking production by Bailey – who last tackled Christie’s Witness For The Prosecution in the West End – and Fiery Angel company, is a reminder that a familiar trip into classic territory can still catch us off guard.
Murder on the Orient Express is running at the Newcastle theatre until Saturday, January 18: to book see here.