The formula for a good murder mystery is one that’s been replicated countless times by hundreds of writers, and the notion of an unsolved murder is one that’s centuries old. Agatha Christie is the name most of us associate most strongly with the genre, and if there’s one thing for certain about crime writing, it’s that her stories will always be timeless classics. This new staging by Ken Ludwig of perhaps her best known work, Murder on the Orient Express, absolutely epitomises why she is such a good storyteller, as we see the great author’s seminal work come to life like never before.
Without giving away too much, the story focuses on inspector Hercule Poirot, as he, along with a group of invited guests, take a journey on the eponymous train, with the characters varying wildly in backgrounds and personalities, but all linked by their presence at the scene of a grisly murder that takes place during the course of the journey. This leads to Poirot being forced to abandon his holiday, and jump into action to solve this crime in the absence of local police.
Though the renowned Belgian sleuth (portrayed masterfully by Michael Maloney in a sumptuous performance of real class) is at the centre of everything, this is very much an ensemble piece, with some exceptional acting all around; Debbie Chazen as Princess Dragomiroff was a particular standout for her brazenness and brilliant comic timing. There was a wonderful balance hit between each of the characters, both in their respective expositions and how they all tie in with Poirot’s investigation, we the audience (those of us unfamiliar with the story anyway) were kept on tenterhooks throughout trying to figure out “whodunnit”.
Amidst some pretty terrific storytelling though, there was a degree of disconnect in terms of Lucy Bailey’s direction; in spite of Mike Britton’s impressive set design elements, as well as some excellent lighting and video design by Oliver Fenwick and Ian William Galloway respectively, how it all worked together felt disjointed, making the transitions and scene changes feel clunky.
Although this didn’t detract too much from the narrative, it may not have flowed perhaps as well as it could have. However, a discernible, palpable degree of suspense was built, to a climax that both shook us to the core and had us seriously contemplating our moral compass. Christie is a master of her craft, intricately guiding us through layers of intrigue and mystery, and though it wasn’t always a smooth ride, it still kept us thoroughly engrossed from boarding right until our final destination.
Murder on the Orient Express runs at The Lowry until 14th September. For tickets and more information, you can follow the link here.
⭐️⭐️⭐️⭐️ (4*)
Gifted tickets in return for an honest review | photography provided by The Lowry
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