Following the sell-out success of And Then There Were None, Fiery Angel and director Lucy Bailey return with another Agatha Christie classic, Murder on the Orient Express. Adapted by Ken Ludwig, this stylish and suspenseful production is packed with intrigue, tension, and one of Christie’s most iconic twists.
As a fan of a good murder mystery, I always find it fascinating how these intricate stories are adapted for the stage. Christie’s novels are full of detail, and translating them into a live production while maintaining suspense and clarity can be a challenge. Some moments in this adaptation truly shine, but at times, the pacing felt uneven, with certain scenes moving too slowly while others felt rushed.
Set in 1934, the luxurious Orient Express is stranded by an avalanche, leaving its passengers trapped. But the real danger is inside the train—when a murder is discovered, it’s up to Hercule Poirot to solve the case before the journey ends. Michael Maloney (The Crown, Belfast) takes on the role of Poirot, delivering a performance full of intelligence and flair. However, I found his portrayal occasionally overdone, with exaggerated mannerisms that sometimes felt too theatrical. Poirot is a meticulous and brilliant detective, and while Maloney captures his essence, a more understated approach might have felt more natural.
The staging does an impressive job of capturing both the elegance and claustrophobia of the train, immersing the audience in the mystery. Lighting and sound effects enhance the tension, making you feel just as trapped as the characters. Lucy Bailey’s direction keeps the production engaging, though the pacing inconsistencies sometimes disrupt the flow.
Ken Ludwig’s adaptation balances tension and humor, remaining faithful to Christie’s intricate plotting while ensuring it works well for the stage. The supporting cast is strong, with each actor adding layers to their characters, keeping the intrigue alive. The chemistry within the ensemble helps maintain the suspense, and Christie’s signature misdirections are well executed.
Despite its flaws, Murder on the Orient Express is an engaging and entertaining adaptation, with a final twist that lands perfectly. While the pacing issues and Maloney’s slightly over-the-top performance occasionally detract from the experience, the production as a whole remains an enjoyable night at the theatre.
Murder on the Orient Express is playing at the Alexandra Theatre, Birmingham, until Saturday 1st February. Tickets are available here.
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