There’s something enduringly delightful about an Agatha Christie mystery: the tight plotting, the complex web of motives, and the slow, satisfying unfurling of the truth. Murder on the Orient Express, in this new UK and Ireland touring production adapted by Ken Ludwig and directed by Lucy Bailey, proves no exception to that rule — a classy, chilling and at times surprisingly funny staging of one of Christie’s most iconic stories.
Michael Maloney leads the cast as the ever-meticulous Hercule Poirot, bringing both poise and a welcome complexity to the role. His portrayal is consistent throughout, displaying a striking command of Poirot’s famous quirks without ever slipping into caricature. There’s warmth and subtle depth here, and Maloney carries the show with a quiet charisma that holds the audience throughout.
Debbie Chazen is equally impressive as Princess Dragomiroff, a character bursting with eccentricity and comedic bite. Chazen finds all the right moments to lean into the humour without undermining the tension of the piece — a difficult balance that she strikes with real finesse. Mila Carter also impresses as the Countess, offering a performance full of poise and quiet strength, marking her as a talent to watch.
With such a sprawling cast of characters, however, the production inevitably faces challenges. While the ensemble is strong across the board, the script — necessarily streamlined from Christie’s novel — means that not every character gets the same opportunity to shine. Some performances feel slightly one-note, not through fault of the actors but due to limited stage time and compressed dialogue. The adaptation has wisely removed a few characters to make the story more manageable, but this does result in a sense of narrative rush later in the show.
The first half, in particular, takes its time to introduce each passenger, leading to a slightly uneven pace overall. By the time the action reaches its final act, events are somewhat hurried, compressing key revelations into quick exchanges that might benefit from a little more breathing room. That said, the central mystery remains as gripping as ever, and the final twist lands with full weight.
Visually, the production is striking. Mike Britton’s set cleverly captures the interior of the train, aided wonderfully by a revolving stage that allows for fluid transitions between compartments and keeps the action visually dynamic. It’s an inventive and effective design, although some of the scene changes can feel clunky — a rare misstep in an otherwise sleek production. The lighting design by Oliver Fenwick adds another layer of atmosphere, adapting beautifully to the shifting positions of the set and creating an enveloping sense of claustrophobia and tension.
Ultimately, this is a stylish and faithful interpretation of a classic whodunnit, executed with skill and sophistication. While not every character has room to breathe, the production still delivers on suspense, elegance, and entertainment. For Christie fans and newcomers alike, Murder on the Orient Express offers a well-acted, well-designed and thoroughly enjoyable night at the theatre. It’s not a perfect journey, but it’s one well worth taking.
Murder on the Orient Express plays at Nottingham’s Theatre Royal until Saturday 5th April 2025 where it continues its UK tour.
Photography throughout from Manuel Harlan.
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