This is the kind of play that commands your attention from the very first moment and keeps you guessing - and jumping, until the very end. No matter what kind of day you’ve had, prepare to leave your troubles at the station as you're swept into a world of steam, moral quandaries, and a murder so dramatic and captivating, you can’t help but be enthralled (he was stabbed how many times?).
I loved that this adaptation stayed true to the 1930s setting, allowing the era’s opulence and style to shine through in the costumes, the train doors, and the carriage furniture.
A particular highlight for me was the design of the train compartment doors. I’ve never been on the Orient Express, but I have travelled by train in a few places, including Kazakhstan and Russia, where I’ve seen those stunning, panelled wooden doors. It made me feel as though we really were aboard a grand sleeper train.
The staging was classy, clever, and seamless. The way the production moved us through the train’s carriages was masterful, reinforcing the illusion of constant motion.
The set’s fluid transformations somehow deepened the mystery and intrigue of the plot, enhancing the sense of both confinement and suspense. The way space was used was particularly striking.
Some of the action unfolded within the train’s narrow passageways, heightening the claustrophobia and tension, while other moments expanded beyond the carriage, giving room for the emotions and stories of each character to unfold.
The playwright doesn’t always get the recognition they deserve, but Ken Ludwig’s knack for blending wit with suspense, paired with Lucy Bailey’s dynamic direction, lifts the comedy and tragedy straight off the page.
The audience is taken on an emotional journey, shifting effortlessly between laughter and tension. I enjoyed the name dropping and references in the dialogue for the detective-loving audience members.
Some of the lines were so sharp and quick-witted that they were almost too easy to miss, and with the rich variety of accents on stage, this might just be a play that demands a second viewing to catch every subtle reference and cleverly crafted remark.
As a sewer, I’m always drawn to costumes, and what amazed me on the drive home was that they were so beautifully designed, crafted, and worn that they didn’t stand out at all. And I mean that as the highest compliment.
They felt so natural to the characters, the setting, and the story that they seemed woven into the lines of the book itself. That said, the fabulous coats worn by Debbie and Simon might just be worth smuggling out of the wardrobe department. I wouldn’t blame them for “accidentally” taking them home when the tour ends.
And if they don’t, I’ll be sending the production team a stamped, self-addressed envelope!
Every cast member delivered their role with such skill that it’s hard to pick a favourite. Personally, I loved the sharp wit and dark humour of Princess Dragomiroff (Debbie Chazen), the elegance of Countess Elena Andrenyi (Mila Carter), and the charm of the ever-likeable train manager, Monsieur Bouc (Rob Barrett).
And of course, you couldn’t take your eyes off the ever-brilliant Hercule Poirot (Michael Maloney), just in case you missed a sudden flash of genius. Smart is the new sexy, after all.
Xan Phillips, was lucky enough to grab an interview with actor Simon Cotton who plays character Samuel Ratchett. Listen to the full interview here: https://www.voicefmradio.co.uk/on-air/podcasts/voice-fm-arts-and-culture-podcast/episode/murder-on-the-orient-express-interview-with-simon-coton/
As I overheard a young man saying in the queue to pay for parking, the set was so smart. I agreed wholeheartedly, smart is the word of choice for me too. The set was smart, the dialogue was smart, the costumes and the actors too. So let's all be smart.
Go get your tickets to see this show asap. Show is from now until Saturday 22nd February. Book here: https://www.mayflower.org.uk/whats-on/murder-on-the-orient-express-2025/
All Photo credits: Manuel Harlan, Murder on the Orient Express UK Tour.
