Murder on the Orient Express at Nottingham Theatre Royal Review
DISCLOSURE – TICKETS TO SEE THE SHOW WERE GIFTED TO THE REVIEWER AND GUEST FOR THE PURPOSES OF WRITING THE REVIEW
Reviewed by Alexander Wilde
Spoiler Free
Spring may have finally arrived, but last night a wintery chill rolled into Nottingham. ‘Murder on the Orient Express’ has stopped dead at Nottingham’s pre-eminent Theatre Royal for five days of first-class foul-play. With only four stops remaining, Ken Ludwig’s stage adaption of one of Agatha Christie’s greatest mysteries continues its highly praised UK and Ireland Tour. This is a journey not to be missed…
The Queen of Crime’s thriller takes place in Winter 1934, onboard the legendary and luxurious Orient Express. Unusually, the First-Class carriages are full for this time of year as the train embarks on its journey through Europe from Constantinople (modern day Istanbul) to Paris. By the time the train reaches its destination, there will be one less occupant. Unexpectedly aboard, revered, Belgian detective Hercule Poirot is thrust into investigating the intriguing group of fellow international passengers.
The opening of the play is quite haunting. A dark, empty stage hosts a projected flashback that is central to the mystery. Immediately followed by a monologue by the main man – Hercule Poirot – setting out how this case was so fundamentally different to all those he has faced in the past. Yes, he needed to apply all his ‘little grey cells’ in deductive reasoning, but it also challenged his sense of justice, forcing him to weigh the rule of law against morality. This time the usual tidy deductions won’t lead to a simple, satisfying solution — instead, they open deeper ethical dilemmas.
Featuring stars of stage and screen, the cast of ‘Murder on the Orient Express’ conjure a world brimming with tension, elegance, and intrigue. Taking on the role of Hercule Poirot is no small feat—so indelibly linked to iconic portrayals such as David Suchet’s—but Michael Maloney rises to the challenge with quiet authority and flair. His quirky Poirot ranges from composed and razor-sharp, to exuberant and frenetic, a performance that confidently makes the role his own. As Poirot’s loyal companion, Bob Barrett is delightfully engaging as Monsieur Bouc, offering levity and warmth. Jean-Baptiste Fillon as the conductor Michel keeps the wheels turning with French efficiency. Mila Carter exudes confidence, poise and mystique as the enigmatic Countess Andreyni, while Debbie Chazen brings delightful grandeur and comic steel to the formidable Princess Dragomiroff. Simon Cotton’s abrasive, tightly coiled Ratchett is a real piece of work and is a character you can love to hate. Rebecca Charles’s Greta Ohlsson is heartfelt, but highly neurotic and skittish. Christine Kavanagh sparkles as the vivacious Helen Hubbard, yet evidently carries a loss very close to the surface. Paul Keating brings nuance to the anxious MacQueen, and Iniki Mariano and Rishi Rian round out the cast with elegance and gravitas. Despite a slimmed down rota of accused from the source material, the acting range of the principal cast more than makes up for it. Each one of them is wearing a ‘mask’; spinning lies; hiding intent, secrets and connections. These are the very best whodunit suspects, shifting in and out of you suspicions as your sleuth your way to the conclusion. The drama is punctuated with moments of levity, which round the characters and releases the tension at appropriate times.
One of the things I was most curious about was how the Orient Express would be shown on stage. How would they recreate the opulent carriages, whilst maintaining the claustrophobic setting? Answer: Innovatively, using modular, rotating full scale cabins that shift as required for the scenes. One side would be the narrow train carriages, with the audience viewing tight quarter action through the windows. These would then revolve to show the individual sleeper compartments. Sections would split and slide into the darkness to provide focal points such as the dining room or rear of the train. The attention to art-deco detail was excellent: rich wood panelled interiors; gleaming brass accents; sumptuous upholstery and velvet curtains; and soft lighting, creating a realistic and immersive set. This ingenious staging was aided by the ensemble cast. Dressed as engineers, they added to the authenticity.
For keeping everything ‘on the tracks’, well-deserved recognition to the creative and production teams. Light, sound and effects perfectly created an engrossing world. I am always astounded by how the talented teams behind the scenes can stir such emotion in the audience, none more so when it comes to peril and dread.
Book your passage now, this is a superb adaptation of a much-loved classic and theatre at its finest. A talented cast, tight production and direction, and inventive staging bring this story to life. All aboard the Orient Express, it’s a killer ride!
Rating: 5/5
Tickets are fantastic value, starting at £19.00.
On stage from 1 – 5 April 2025, for more information or to book tickets visit trch.co.uk or call the box office on 0115 989 5555
Theatre Royal & Royal Concert Hall, Theatre Square, Nottingham, NG1 5ND
Tour details: https://murderontheorientexpressplay.com/
The splendorous, Victorian Theatre Royal, and neighbouring Royal Concert Hall, stand within a clean, well-lit, and popular area of the city centre which has benefited from extensive regeneration and considered transport links. The Theatre is surrounded by a range of bars, restaurants, and entertainment options for a wonderful night out in the bustling city. Arriving by car, routes to the theatre were well signposted and nearby parking was plentiful.
The main foyer is elegant and spacious, with a recently renovated bar. You are sure of a warm greeting and a great atmosphere. The bars/concession stands are well manned, stocked and of standard prices for theatres. I have sat in both stall and dress circle seats; both are comfortable and provide excellent views of the stage.