Review of Murder On The Orient Express at Milton Keynes Theatre

The 1934 novel Murder on the Orient Express is perhaps one of Agatha Christie's most famed novels from a vast catalogue she produced, and it has been made for film and TV many times. However, it is perhaps a surprise that it took until 2017 for the story to finally appear on the stage, adapted for the stage by American playwright Ken Ludwig.

When it was staged in 2017, it became Christie's classic character Hercule Poirot's first appearance on stage in over 75 years. So, as the play eases into the Milton Keynes Theatre station on a lengthy UK tour, does it live up to the classic work?

As a brief introduction to the piece, we, Hercule and the usual collection of Christie characters find ourselves in 1930s Istanbul boarding the famed train of the title. Soon after, one of the passengers is dead, and it is time for Hercules's "little grey cells" to do their work.

Murder On The Orient Express benefits from a large and strong cast led by Michael Moloney in the classic role. He brings his style to the show, perhaps one of the most comic, as Poirot finds himself again in the midst of a violent crime. Maloney is superb. He is diminutive enough for the role but also significant enough in performance to seemingly tower over the characters he explores. His performance is also impressively sprightly physically. He is, without question, an excellent Poirot.

Elsewhere in this deep and quality cast, Simon Cotton is an instantly unlikeable blazon American in Samuel Ratchett, determined to convince Poirot to take his money for a case he shouldn't refuse. Bob Barrett adds to the humour as Monsieur Bouc, director of the company. However, at times, his accent drifts, but this, it has to be said, could be used as criticism for a few of the cast.

More humour comes from Debbie Chazen as Princess Dragomiroff and Rebecca Charles as Greta Chisson, a fine pairing who spark off one another, especially at times to Dragomiroff's frustration. Christie Kavanagh perfectly overplays the antics of Helen Hubbard, while Mila Carter, as Countess Elena, suitably charms the captivated detective.

Ludwig's adaptation works exceptionally well, keeping the bones of the story intact despite removing several characters from the novel. It is also often hilarious, milking much humour from the story but still maintaining the menace of the original.

Mike Britton's design is spectacular. Full-size carriages weave in and out of play and rotate on the excellently used revolve. However, for all its ingeniousness, the set can also become a distraction. At times, the stage crew, admittedly dressed for the part, suddenly appears on stage during dramatic moments to whip parts of the carriages away or around.

Lighting and sound from Oliver Fenwick and Mic Pool, respectively, also provide an excellent atmosphere to proceedings, and video design by Ian William Galloway contributes to the production rather than being used as a lazy substitute.

Director Lucy Bailey has done sterling work bringing a fresh take to the classic Murder On The Orient Express. It is well worth getting on board for the journey as it chugs around the country on its extensive tour.

Well worth getting a ticket to ride this adaptation of a crime classic.
⭐⭐⭐⭐

Performance reviewed: Tuesday, 25th February 2025, at the Milton Keynes Theatre.

Murder On The Orient Express is at Milton Keynes Theatre until Saturday, 1st March 2025.

For further details about Milton Keynes, see their website at http://www.atgtickets.com/venues/milton-keynes-theatre/

Production photos: Manuel Harlan

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