Murder on the Orient Express at The Curve

Directed by Lucy Bailey, this version of Agatha Christie’s classic “Murder on the Orient Express” brings Ken Ludwig’s 2017 adaptation of one of the best-known murder mysteries to the stage.

The show opens with an unexpectedly haunting chorus of ghostly children’s laughter. It sets an eerie tone that contrasts with the otherwise lighthearted air maintained throughout the play, despite the grim murder at its centre. This tonal balance continues as celebrated Belgian detective Hercule Poirot, played with calm authority by Michael Maloney, is thrust into solving the crime while simply trying to return home from holiday.

While Maloney’s portrayal of Poirot commands attention, it’s Mike Britton’s sumptuous set design that truly steals the spotlight in the first act. The revolving stage offers a dynamic, shifting perspective, allowing us to observe the characters as they prepare for their fateful journey. That said, the complex luxury of the train does lead to a few cumbersome moments, where transitions between scenes seem noticeably laboured.

Poirot’s investigation begins as he encounters an array of colourful characters each fitting a classic archetype: a glamorous Hungarian countess (Mila Carter), an exiled Russian princess (Debbie Chazen), and detestable American villain Samuel Ratchett (Simon Cotton), among others.

Christine Kavanagh’s turn as Helen Hubbard adds much-needed energy. She brings a playful, often biting wit to the role, pinballing between flirtatious and sarcastic, and earning most of the laughs of the evening. Despite this, the characters largely function as plot devices rather than fully fleshed-out individuals.

Director Lucy Bailey’s sure hand ensures a steady pace and doesn’t shy away from the darkness at the heart of Christie’s story, most notably in a grisly re-enactment of the murder that briefly jolts the production into more visceral territory. Still, the emotional depth of the characters, particularly the sense of grief and trauma that should cloud the moral compass in the final act, remains somewhat underdeveloped with the deeper themes of justice, revenge, and guilt largely unexplored.

In the end, while the final reveal is effectively staged, it lacks the emotional punch that might elevate this adaptation from a visually sumptuous period piece into something more profound. Poirot’s climactic questioning of his approach to solving crimes provides some reflection, but without a more significant connection to the characters’ inner lives, the resolution feels more intellectual than heartfelt.

All in all, “Murder on the Orient Express” at The Curve is a visually captivating and well-paced production, with memorable performances—particularly from Kavanagh—though it leans more on style than substance.

***