All aboard for a first-class night of mystery, intrigue, and razor-sharp wit as ‘Murder on the Orient Express’ steams onto HMT’s stage this week. Agatha Christie’s classic whodunnit has been given a thrilling theatrical makeover, packed with sharp dialogue, atmospheric staging, and terrific sound design. With a train full of eccentric suspects, a murder most foul, and the world’s greatest detective on the case, this production promises suspense, spectacle, and a touch of dark humor. But with secrets lurking in every compartment, the real question is – can you crack the case before Poirot does?
Michael Maloney leads this ensemble as Hercule Poirot, with a beautiful balance of gravitas and wit of Christie’s iconic detective. He holds the audience in the palm of his hand during powerful monologues with measured intensity. Just as the tension reaches a peak, Maloney effortlessly settles us back into our seats with well-timed humour, ensuring that Poirot remains charming as he is formidable. Commanding attention, Maloney keeps the audience hanging on his every word as he pieces together the mystery.
Bob Barrett makes a delightful counterpart to Poirot’s composed intellect as the excitable and playful Monsieur Bouc. Barrett’s performance is filled with lively expressions, drawing the audience into his character’s enthusiasm and occasional panic. His chemistry with Maloney adds an extra layer of charm, making scenes between them entertaining to watch.
Mila Carter delivers a poised and captivating performance as the Countess, exuding an air of quiet mystery and intelligence. Her stoic demeanor makes her stand out among the more eccentric passengers. An example being the formidable Princess Dragomiroff, played by Debbie Chazen, who steals scenes with her regal presence, effortlessly balancing haughty aristocracy with moments of dry humor that provide some of the production’s biggest laughs, especially when her frustration is unleashed on Greta, played by Rebecca Charles. Charles is wonderfully over-the-top, delivering melodramatic flair in every gesture and exclamation. Her portrayal is a whirlwind of nervous energy, wringing every ounce of emotion from the character’s dramatic outbursts.
Simon Cotton brings an intense, brooding energy to Samuel Hatchett. He balances the character’s brash confidence with a simmering unpredictability, keeping the audience guessing about his true nature.
Jean-Baptiste Fillon is the ever-dutiful conductor of the Orient Express, Michel, adding a sense of control amid the chaos with his composed exterior. While Christine Kavanagh’s comedic instincts are impeccable as Helen Hubbard, making every exaggerated anecdote and flirtatious remark land perfectly. Paul Keating’s Hector immediately sets him apart from the other characters. His anxious demeanor and quick delivery make him both amusing and suspicious, ensuring every scene feels charged with tension.
Iniki Mariano draws the audience in with her subtlety and control as Mary Debenham. Like the Countess, she remains more reserved than the larger personalities on board the Orient Express, she keeps us guessing her true motivations with intriguing mystery.
Rishi’s Rian’s Colonel is a commanding authority onstage. His clipped no-nonsense delivery adds weight throughout the production.
The cast shifts seamlessly between moments of individual focus and collaborative tension, adding layers of strategy and suspense to the production. Leah Hausman’s movement direction creates a beautiful flow throughout the production, where the cast move cohesively in a stylised choreography. This unified approach not only enhances the drama but also deepens the mystery, with every character playing their part in a larger, carefully orchestrated game.
Ken Ludwig’s adaptation of ‘Murder on the Orient Express’ for the stage is an ambitious feat, taking on one of Agatha Christie’s most iconic works. His fast-paced humour and theatrical flair inject fresh energy into the mystery, ensuring it remains engaging for modern audiences. However, while the heavy dialogue is essential to the plot, the pacing does occasionally dip during these more intricate exchanges, momentarily slowing the momentum. Despite this, Ludwig’s adaptation successfully captures the essence of the original, blending suspense and humor to keep the audience on edge.
Director Lucy Bailey has expertly crafted a gripping production, skillfully managing a large cast of diverse characters without losing focus or tension. Her keen eye for detail ensures that each character stands out, adding layers of intrigue and complexity to the mystery. Movement Director Leah Hausman enhances this dynamic with beautifully stylized choreography, seamlessly integrating movement into the storytelling.
Mike Britton’s set design is nothing short of impeccable, transforming the stage into a captivating, immersive experience. The use of a revolving stage, a feature I didn’t expect to see in HMT, works brilliantly, allowing the audience to witness the drama unfold from every angle. The train carriage itself is a stunning piece of design, with compartments that cleverly isolate the action, creating moments of intimacy and tension while keeping the larger scope of the narrative in view. Britton’s attention to detail in the set, combined with the fluidity of the revolving stage, enhances the production’s sense of movement and urgency, making the journey aboard the Orient Express feel all the more real. This is only complimented by Oliver Fenwick’s dramatic lighting, casting long shadows and accentuating set pieces, heightening the suspense and atmosphere.
Through unsettling instrumentals, Mic Pool’s sound design immerses the audience into this mystery. Pool masterfully blends the haunting screams of Daisy Armstrong with the screams of the train itself, creating an unnerving fusion that blurs the lines between the past and the present.
‘Murder on the Orient Express’ is a captivating and immersive production that successfully brings Agatha Christie’s iconic mystery to life on stage. With a talented cast, stunning set design, and expert direction, it’s a thrilling journey filled with suspense, intrigue, and moments of sharp humor. Despite some pacing issues in the heavier dialogue scenes, the production remains a compelling experience from start to finish, with every element working in tandem to keep the audience guessing until the final reveal. A must-see for fans of the classic whodunnit.
‘Murder on the Orient Express’ is running from the 12-15th February at His Majesty’s Theatre.
Get your tickets here: https://www.aberdeenperformingarts.com/whats-on/murder-on-the-orient-express/
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