Katie Barr
There’s nothing quite like a gripping whodunnit to electrify an audience, and the showing of Murder on the Orient Express at Nottingham’s Theatre Royal is a first-class journey into intrigue. Impact reviewer, Katie Barr tells us all of Agatha Christie’s classic detective tale, brought to life in this dazzling stage adaptation, blending glamour, suspense, and razor-sharp wit, ensuring a night of high drama aboard the world’s most luxurious locomotive.
With Micheal Maloney masterfully embodying the iconic Hercule Poirot and Bob Barrett providing a charming contrast as the affable Monsieur Bouc, this production directed by Lucy Bailey, transforms a well-loved mystery into a theatrical masterpiece.
The moment the curtain rises, we are transported into the sleek sophistication of the 1930s. The set design is nothing short of breathtaking, with a cleverly crafted train interior that seems to shift and breathe with the movement of the story. Moody lighting flickers between warm elegance and chilling suspense, while a soundscape of distant howls of wind and the occasional thud of footsteps amplifies the eerie isolation of the stranded passengers. 
The result? It is an immersive experience that makes the audience feel as though they, too, are trapped aboard this ill-fated train, caught in the web of deception spun by a murderer who lurks among them.
In a role that has been defined by legends like David Suchet and Albert Finney, Micheal Maloney’s Poirot is nothing short of revelatory. He is meticulous yet mischievous, wielding his little grey cells like a finely honed blade, slicing through lies with a mere twitch of his moustache. Maloney masterfully balances Poirot’s fastidiousness with an unexpected vulnerability, making him not just an astute detective but a deeply compelling character who wrestles with justice and morality.
CHRISTINE KAVANAGH IS A FORCE OF NATURE AS THE BRASH AND FLAMBOYANT HELEN HUBBARD, INJECTING HUMOUR AND UNPREDICTABILITY INTO EVERY SCENE SHE GRACES.
Of course, a murder mystery is only as good as its suspects, and this cast does not disappoint. Each passenger aboard the Orient Express harbours secrets, and each performance peels back yet another layer of intrigue. Rebecca Charles shines as the enigmatic Grace Ohlsson, while Debbie Chazencommands attention as the imperious Princess Dragonmiroff, exuding an air of aristocratic authority with a sharp wit that slices through the tension like a knife.
Rishi Rian delivers a simmering intensity as the hot-tempered Colonel, his clipped speech and rigid posture betraying the fury rolling beneath his controlled exterior. Mila Carter gives a beautiful performance as the glamorous but troubled Countess Adrenyi, whose secrets seem just out of Poirot’s grasp. Then there is Jean-Baptiste Fillon as the excitable Michel the conductor, whose jittery energy keeps the audience second-guessing his every move.
Christine Kavanagh is a force of nature as the brash and flamboyant Helen Hubbard, injecting humour and unpredictability into every scene she graces. Paul Keating delivers a compelling performance as Hector MacQueen, whose nervous energy and barely concealed anxiety hint at a deeper story lurking beneath his polished exterior. Iniki Mariano is as captivating as Mary Debenham, her cool composure masking a complex past, while Simon Cotton brings an ominous presence to Samuel Ratchett, embodying the perfect blend of arrogance and menace that makes his murder all the more intriguing.
Every glance, every hesitation, every carefully placed word fuels the guessing game, keeping the audience enthralled until the shocking final revelation. Lucy Bailey’s direction ensures that each character gets their moment in the spotlight, creating a dynamic interplay that turns even the simplest interactions into charged exchanges laden with hidden meaning. The pacing is masterfully controlled, building slowly like the rhythmic chug of a steam engine before careening into a breathtaking climax.
AGATHA CHRISTIE’S MURDER ON THE ORIENT EXPRESS IS A STORY THAT HAS BEEN TOLD AND RETOLD, YET THIS ADAPTATION BY KEN LUDWIG MANAGES TO KEEP IT FEELING FRESH AND UNEXPECTED.
Agatha Christie’s Murder on the Orient Express is a story that has been told and retold, yet this adaptation by Ken Ludwig manages to keep it feeling fresh and unexpected. Clever injections of humour, modern staging techniques, and a keen awareness of the story’s deeper themes elevate the production beyond a simple retelling.
The snowstorm trapping the train mirrors the psychological entrapment of each character, and as the case unfolds, the audience is forced to grapple with themes of justice, revenge, and the nature of truth itself. Even those familiar with the novel will find themselves swept up in the sheer theatricality of the unfolding drama. 
The Murder on the Orient Express is more than just a crime story – it’s an experience, a journey into the heart of mystery and human nature. Whether you’re a long-time Christie lover or a newcomer to the world of Hercule Poirot, this production is an absolute must-see.
With its stunning design, spellbinding performances, and a script that balances classic storytelling with fresh innovation, Murder on the Orient Express is a five-star triumph. Micheal Maloney’s brilliant portrayal of Poirot, the outstanding supporting cast, and Lucy Bailey’s cinematic direction make for an unforgettable night of theatre. A journey worth taking – and a mystery worth solving!
Katie Barr
Featured image courtesy of Alex Watkin. Permission to use granted to Impact. No changes were made to this image.
In-article images courtesy of Manuel Harlen. No changes were made to these images.
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