“Inventive staging with strong performances.”
Lucy Bailey, known for her direction of “And Then There Were None” and “Witness for the Prosecution”, brings a fresh, engaging take to “Murder on the Orient Express” at The Lowry. However, while her direction is sharp and insightful, the show’s early focus on “whodunnit” detracts slightly from the suspense. The “reveal” of the collective character in the first 3 minutes of the show feels rushed, planting clues that might be too obvious for first-time viewers, reducing some of the mystery that defines Agatha Christie’s work.
The brilliance of the production lies in its creative set design by Mike Britton. The train, the centrepiece of the action, is ingeniously designed to break apart into smaller components. This allows the production to seamlessly shift between scenes and gives focus to key moments without disrupting the flow. The set changes feel organic, enhancing the atmosphere and making the various locations feel intimate and dynamic. As the action unfolds, so does the train.
The ensemble cast delivers nuanced performances, impressively handling their respective accents—whether Hungarian, Belgian, or Russian—with ease. Their comedic timing brings lightness to the darker moments of the story. Hercule Poirot (portrayed by Michael Maloney), with great empathy and depth, is given a more human side in this production, standing out as the most complex and emotionally resonant portrayal of the iconic detective.
Ken Ludwig’s adaptation of the classic novel feels so naturally suited to the stage that it’s hard to believe this wasn’t originally written as a play. The script balances humour and drama, with Poirot’s point of view becoming a unique and refreshing lens through which the audience experiences the story. The recreation of the murder from Poirot’s perspective is particularly striking.
One element that detracted from the overall experience was the use of the overhead screen and projections. The visuals, especially in scenes set outside the train, felt distracting and misaligned with the scale of the live-action scenes. They didn’t add much to the atmosphere and, at times, even pulled focus away from the superb performances on stage. Sometimes, less is more – and I wished the audience was allowed to suspend their disbelief and imagine some of the settings or past experiences, as opposed to be spoon-fed with visual cues.
Despite these minor distractions, “Murder on the Orient Express” at The Lowry is a triumph of creative design, powerful performances, and a nuanced exploration of Poirot’s character. Lucy Bailey’s direction, combined with Mike Britton’s inventive set design, makes for a compelling and memorable theatrical experience that honours the spirit of Agatha Christie’s work.