The question we all want to know before the play starts is: how will they do this play, set on a train, on the stage? A stage is big and needs to be seen from all parts of the theatre, but train compartments are small, more suited to camera angles in tight corners perhaps? The answer here is down to the design of the play, combining highly stylised content on often bare stage, with moving train compartments which revolve and turn and connect with each other. Literally a train on the stage. Which although the title demands it, nobody thinks will actually be created; and it’s a gasp surprise when the train is first revealed.

There is a lot to love about this production and yet some things that cause consternation. The set and lighting and use of space is super, and fans of stylised theatre with all the actors moving as one, symbolic of the train of the title, will love these set pieces. The revolve in the floor is used well, turning the train compartments so we see through all the different sides and walls for different perspectives. However, beyond the surprise of the train on the stage, there is a fair bit of slow spinning where nothing else is happening: the story is not being driven forward, it seems that we are just being shown all sides of the train compartments for us to gasp at, which is quite self-indulgent. After all, a set is meant to be the crucible holding the story, not the story itself, regardless of its appearance in the title. It also seems a golden opportunity of creating the famous dining car has been missed, when this could hold a significant portion of the action.

There are some noteworthy performances in this production, such as Michael Maloney’s impassioned portrayal of the infamous Belgian detective: Hercule Poirot. It’s a role that must come with pressure due to its famous nature, and it’s tricky to create one that is true to Agatha Christie’s creation but not copy other actors’ interpretations of him. Michael walks this fine line really well, creating a Poirot who is intense, tortured and haunted by the events he describes, forced to question his previously unshakeable beliefs. Debbie Chazen is fabulously flamboyant as the Russian Princess, with her embodied superiority and natural comedy timing which is perfectly placed.

Christie Kavanagh shines as the deeply layered and intelligent Helen Hubbard, conveying such a different and fun character as obfuscation in the beginning. Iniki Mariano is also impressive with her emotional authenticity, her tear streaked face being evident towards the end. While one of the criticisms of some Agatha Christie adaptations is that there are often fairly two dimensional characters, that is sadly the case for a couple of the portrayals of the characters here; for example sinking into chairs with melodrama, hiding faces and making sobbing noises to imply crying. Where the ensemble ‘engineers’ move the set that works fine, but the choice to show stage crew with full headsets just randomly moving things is something that really distracts.

The adaptation is otherwise quite interesting, although trying to add comedy verging on farce to the character of Poirot is jarring: standing over a corpse and making jokes is something you might expect from a dark comedy, not Agatha Christie. The comedy from the Russian Princess character is enough to lift things where needed as it is natural and part of the flow of the story. This version has lots to recommend it, although it does seem as if it’s trying to be clever in design and adaptation, and thinks a good deal of itself, which sometimes misses the mark.

Theatre Royal Brighton, 22 April 2025
Murder On The Orient Express runs until 26 April 2025
Photos credit: Manuel Harlan