Let’s start off by making two things clear: nailing a tried and true classic well is no mean feat and, two, fans are very precious when it comes to adaptation – Murder on the Orient Express at The Lowry, rather fittingly, barrelled through those obstacles not like a luxury liner but like a freight train.
Yes, the iconic Agatha Christie tale and quintessential ‘whodunnit’ may have ironically been done to death at this point (most recently resurrected on the big screen by director and Hollywood’s Hercule Poirot, Kenneth Branagh), but this new stage production felt much more refreshing than the blockbuster.
Put simply, merely going where many have gone before and expecting results or similar success isn’t a given. Written and adapted by Ken Ludwig and directed by Lucy Bailey, this latest Murder on the Orient Express now on at the legendary Lowry Theatre is a must-see as far as we’re concerned.
What the creators, along with the whole cast and crew, have done with this treasured text is elevate it not just to a play that will leave any theatre-goer walking away satisfied but also restore the true light and shade to the textbook murder mystery that has more high points than we can squeeze into 1000 words.
Credit: Manuel Harlan (press images supplied)
A small but stunning and dynamic set
First and foremost, we can’t begin anywhere else other than applauding what they’ve managed to achieve with the set alone.
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It was one of our first big questions going into the performance. How are they going to pull this off and create that sense of motion around the actors on stage? Is it going to look any good? Turns out we had nothing to worry about whatsoever.
Combining nothing more than three movable train cars donned in full Edwardian decor, a few tables for breakaway scenes and clever use of an overhead screen to portray elements like snowdrift weather and even wheels chugging along the tracks, much like the plot, it always felt like things were on the move.
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Twinned with excellent use of music and sound effects – both ambient and authentic in the case of Christine Kavanagh as the delightfully devilish Mrs Helen Hubbard, whose late-night sing-song felt like genuinely peaking into someone’s cabin after a few tipples – the whole surround just works so well.
They did a great job of creating these little vignettes within each train window, almost like sitting across from an apartment block and peaking into the living rooms of each flat, people-watching as their stories play out, only with the bonus of these strangers being mic’d up so you don’t have to fill in the blanks.
But let’s not beat around the bush here: even if you’ve seen it a dozen times before, you come for the murder mystery and you stay to see the moustachioed “magician” at work.
The entire supporting cast was wonderful, in truth – we particularly loved the aforementioned Kavanagh and her ‘just the right amount of chaos’; Bob Barrett’s energy as Monsieur Bouc and the permanently frantic Greta Ohlsson, done so well by Rebecca Charles – but Maloney is absolutely masterful as Poirot.
To be honest, besides a couple of accent slips here and there (podody’s nerfect), everyone up on that stage was a joy to watch embody these timeless characters and made for a well-balanced ensemble, but this might be our favourite portrayal of the talented detective since the almighty David Suchet himself.
Whether it be in the expertly delivering lengthy monologues, the many moments of self-deprecation, mourning his youth and always remaining the wittiest player on stage, or breaking up those moments of levity with rare but sudden flashes of frustration that actually catch you off-guard, he was flawless.
Similar to how he keeps every one of the suspects in his pocket from minute one, he had the audience in the palm of his hand for the entire duration and the timbre of that French—sorry, Belgian* dialect barely dips for even a second.
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Michael Maloney is the pure embodiment of everything Poirot is and should be. (Credit: Press Image/Manuel Harlan)
The drama is great but where it truly shines is in the laughs
Lastly, speaking of that levity, perhaps the thing we loved most about the whole approach to this version of Murder on the Orient Express is that it isn’t so much a tense tragedy as it is a dramatic comedy.
The chances are that almost everyone in that theatre knows the synopsis of this long-loved tale virtually inside and out, so it was always going to be hard to build really pulse-raising suspense and intrigue, but they manage it by lulling you into those lighter moments and letting the performances shine.
And then BANG: suddenly a big twist, a volta; the crescendo after a period of precisely paced and carefully crafted conversation. It hits you like a gunshot echoing throughout the carriages, a sudden stab to the gut stifled in a quiet train compartment yet still somehow felt from the comfort of your seat.
Everyone gets their handful of one-liners, those comic pauses that dwell just a half-second too long and then some, but it never feels forced or overdone. The full spectrum of emotions is packed into just under two hours and it’s nothing short of a triumph from start to finish.
Without spoiling too much, there is one sound – not even an actual line of dialogue per se – from Maloney when conversing with the Countess (Mila Carter) that we’re still chuckling about now.
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We won’t be sold bold as to give this a star rating but let’s just say we wholly recommend visiting what is without a doubt the best thing on at Salford Quays right now.
The applause following Murder on the Orient Express was rapturous and we dare say there’ll be a fair few returning customers.
Featured Images — Press Images/Manuel Harlan (supplied)/The Manc Group
Theatre
Swordplay and rock ‘n’ roll: A Knight’s Tale comes to Manchester Opera House
Danny Jones
From the moment the curtain rises at Manchester Opera House, A Knight’s Tale bursts into life with exhilarating energy. This stage adaptation of the beloved 2001 film expertly blends medieval spectacle with a bold, modern twist.
Full of jousting tournaments, noble quests, and underdog triumphs, the production delivers both heart and high drama – all with a heady dose of rock ‘n’ roll.
At the centre of it all is William Thatcher, a young squire who dares to defy his lowly birth and enter the world of high-born knights. Played with charm and confidence by Andrew Coshan, William’s journey from peasant to jousting champion is rousing, if occasionally veering into heroic cliché.
Still, Coshan’s likability and natural charisma keep the audience cheering for him through every lance charge and dramatic monologue. The supporting cast also shines.
A standout is Eva Scott, whose comic timing and delivery consistently land laughs, often stealing scenes with her sharp one-liners.
Meanwhile, Meesha Turner brings elegance and spark to the role of Princess Jocelyn. Her powerful vocals during the show’s pop-classic ballads transform the character into a fiery, modern princess you can’t help but root for.
The production’s standout sequences are undoubtedly the jousts, theatrical set pieces that are an absolute masterclass in stagecraft. Using a clever combination of rigging, physical choreography, and dynamic sound design, the creative team conjures a truly immersive atmosphere.
Dramatic lighting and resonant sound effects make you feel the thud of hooves and the crash of lances. The cleverly designed set, featuring an arena-style jousting field, draws the audience into the action in a way that feels fresh and cinematic.
However, the show stumbles slightly in its quieter, more emotional scenes. The dialogue, while laced with humour, sometimes dips into melodrama. The villain, Count Adhemar, feels a touch underwritten, with motivations that don’t quite match the emotional weight the story strives for, but is still well-acted.
Don’t just take it from us: the A Knight’s Tale reviews from Manchester crowds are already very strong.
The stakes between him and William never fully build to the payoff they could – leaving certain dramatic beats a little flat. Musically, the show makes a bold departure from traditional scores. Instead, it leans into a soundtrack of classic rock anthems; think Queen, AC/DC, The Who and more.
At first, it seems like an odd match for a medieval tale, just as it did with the movie, but it works brilliantly. The music injects the show with rebellious energy and gives it a timeless quality. It’s loud, bold, and exactly what this high-octane tale of ambition and identity calls for.
A special mention must go to the ensemble and choreography. The jousting scenes are beautifully choreographed, blending acrobatics, dance, and swordplay with seamless precision. Even in quieter moments, the movement on stage supports the storytelling with subtle grace.
But the unexpected stars of the show? The horses. Designed with clever costume and movement illusions, they create the convincing effect of riders in full gallop – and at times, they very nearly steal the spotlight altogether.
Credit: Supplied
Though clearly aimed at adult audiences, with its cheeky humour and classic rock soundtrack, the show flirts with the spirit of panto, oversized characters, regional accents, and exaggerated physical comedy. And it works.
The regional dialects add warmth and levity, grounding the fantasy in a cheeky, very British sensibility. In the end, A Knight’s Tale is a triumphant and entertaining spectacle, an electrifying mix of medieval mythology and modern musical theatre.
Whether you’re a die-hard fan of the original film or seeing the story for the first time, this production offers a fun, fast-paced, and surprisingly heartfelt night out. It’s not perfect, but it’s hard not to be swept up in the clashing swords, galloping hooves, and power chords.
Put simply, this is a knight to remember – with a soundtrack that slays.
A theatre adaptation of Alfred Hitchcock’s classic spy film North By Northwest is coming to Manchester
Daisy Jackson
Alfred Hitchcock’s much-loved spy classic, North By NorthWest, is hitting the stage and visiting one of Manchester’s most celebrated theatres.
This new, riotously funny production will be visiting HOME theatre for a run of shows kicking off this week.
The show reworks Hitchcock’s film of the same name, following one man who accidentally lands himself in the middle of a Cold War conspiracy.
Now adapted for the stage by Emma Rice, North By Northwest follows an unfortunate mix-up where a mistimed phone call to his mother lands Roger Thornhill in a spot of bother.
Alfred Hitchcock’s classic spy film North By Northwest is hitting the stage in Manchester / Credit: Steve Tanner (via Supplied)
Audiences will see this unlikely (and reluctant) hero head on the run, dodging spies, airplanes and a femme fatale.
For the theatre production at HOME, the classic spy film (that starred Cary Grant) has been turned on its head and stars just six shape-shifting performers.
There’s a fabulous 1950s soundtrack to go with it too – and, apparently, a lot of suitcases.
Tickets are now on sale, and it’s already being described as a must-see / Credit: Steve Tanner (via Supplied)
North By NorthWest promises ‘glamour, romance, jeopardy and a liberal sprinkling of tender truths’.
Artistic director Emma Rice has already adapted and directed products for Wise Children including The Buddha of Suburbia, Blue Beard, and Wuthering Heights, plus worked as artistic director for Shakespeare’s Globe.
The cast is made up of Mirabelle Gremaud as Anna; Patrycja Kujawska as Eve Kendall; Kary Owen as The Professor; Simon Oskarsson as Valerian; Karl Queensborough as Phillip Vandamm; and Ewan Wardrop as Roger Thornhill.
North by Northwest is a co-production with Wise Children, York Theatre Royal, HOME Manchester and Liverpool Everyman and Playhouse, and is currently on a UK tour.
Danny Jones -
11th September 2024 
