MURDER ON THE ORIENT EXPRESS, FESTIVAL THEATRE, EDINBURGH
★★★
The preset for Murder On The Orient Express is stark; an empty, dark stage with just a single pool of light, it gives nothing away. There are no clues to be had here, which is just as it should be for one of Agatha Christie’s best loved whodunits.
There can be few who have not read Agatha Christie’s novel or seen one of the numerous film, TV or stage adaptations, but for their benefit, little more can be said other than that once aboard the most luxurious train in the world, there’s a murder, one that falls on Hercule Poirot, Belgium’s most famous detective, to solve.
Here’s what you need to know: Winter 1934 and an avalanche stops The Orient Express dead in its tracks. A murder. A train full of suspects. An impossible case. Trapped in the snow with a killer still on-board, can Poirot, crack the case before the train reaches its final destination?
We meet the investigator in Istanbul, eavesdropping on diners who, like himself, are about to embark on a journey on The Orient Express, where he reveals a story of ‘remorse and tragedy, primal murder and revenge’ will unfold, presenting him with one of his most challenging cases.
Impressively, an inventive and effective use of projection by video designer Ian William Galloway ensures Poirot’s trip is one we can all enjoy, bringing a sense of movement to the journey being undertaken. That said, the star of the show is easily designer Mike Britton’s sumptuous Orient Express sleeper carriage which, while clumsy to position even with a revolve, instantly evokes the golden age of steam travel when set.
Of course, as with any whodunnit and Christie’s are no exception, a continuous flow of clues and red herrings keep the audience, or at least those who don’t know the outcome already, guessing. The source material does have its limitations, being very much of its time. Christie’s original novel was published in 1934 and proves not as timeless as expected on viewing. With few exceptions, characters are very much two dimensional caricatures.
Consequently, a feast of cod accents and costumes shorthand the nature of the protagonist donning them, while the action itself quickly, and knowingly, descends into good old-fashioned melodrama. It’s just as well, the heightened performances bring comedy and a lightness to proceedings, while helping along the endless exposition required to cram a whole novel into just two hours.
Michael Maloney anchors the production. His Poirot is by turn love-struck, vague, inscrutable and down right shouty, although never as big a presence as the role demands. He is well supported by Mila Carter who ensures her Countess Elena Andrenyi is a fully fleshed out temporary side-kick for the detective. Bob Barrett’s bumbling Monsieur Bouc also catches the eye and gets laughs, while Christine Kavanagh revels in the drunken histrionics of the ever so demanding Helen Hubbard. Debbie Chazen too has great fun as Princess Dragomiroff, making her one of the most entertaining turns of the piece.
All are kept in check by Lucy Bailey, whose direction is pacy, and by movement director Leah Hausman who creates some nice tableaus that bring an added sense of period to the play. Murder On The Orient Express may be considered an old potboiler these days, but that doesn’t stop it being a warm, comfortable, fun night of theatre… one that played to roars of approval as the actors returned to take their curtain call.
Runs at Festival Theatre, Edinburgh, until Saturday 26 October, tickets here.
Full tour dates and tickets here.
