Murder on the Orient Express - Northern Arts Review
at the Grand Opera House York
Murder on the Orient Express - Northern Arts Review
I’ll be the first to admit it: I have a serious Agatha Christie addiction. I don’t think there’s a play, film, TV series or radio adaptation I haven’t seen (or heard) in the past thirty years. After all, who can resist the allure of a perfectly civil world where a murder can happen quietly over a cup of tea and everyone’s far too polite to mention it until the body’s been cleared away? Last night’s production of Murder on the Orient Express at the Grand Opera House York knows exactly what audiences come for: high style, familiar archetypes and a thoroughly satisfying resolution. It doesn’t reinvent the wheel, but with polished staging and strong performances, it offers a thoroughly enjoyable night at the theatre. And if you—like me—have ever fancied being snowed in with eight strangers and a secret, this one’s for you.
First performed in 2017, Ken Ludwig’s stage adaptation of Murder on the Orient Express reimagines one of Agatha Christie’s most beloved and recognisable mysteries without straying far from the source. Originally published in 1934, the story finds Hercule Poirot aboard the luxurious Orient Express when—much to absolutely no one’s surprise—the journey is disrupted by a snowdrift and a murder. With the train stranded and the passengers growing restless, Poirot must solve the case before they reach their destination. This new touring production, directed by Lucy Bailey and produced by Fiery Angel, follows Bailey’s wildly successful staging of And Then There Were None last year, once again bringing Christie’s signature blend of glamour, secrecy and grand reveals to the stage. While this latest production doesn’t seek to break new ground, it serves up exactly what fans come for: polished staging, strong performances and a satisfyingly cosy evening of theatre.
On board this particular journey was a first-class ensemble, with several standout performances along the route. Debbie Chazen’s Princess Dragomiroff steals her scenes with impeccable timing and near-cartoonish flair. Simon Cotton’s Ratchett is pleasingly smug, brash and instantly unlikable. Michael Maloney offers a thoughtful Poirot, with just enough eccentricity to make the role his own. While most of the cast handle their wide range of accents with ease, Rebecca Charles’s Greta Ohlsson unfortunately missed the mark for me—her Swedish accent was noticeably less secure than the others, which occasionally pulled focus.
To see my full review, please visit Northern Arts Review
See you in the shadows my loves,
Sean x
