Just arrived home from the final Bath performance. As you mentioned the staging was phenomenally well executed. I think I would agree about the characterisation of Poirot himself straying a little bit from the Christie source material. It bothered me a little that Poirot perhaps wasn’t vain enough - the great man would never need to introduce himself to the audience, he would assume we all knew who he was already! I also wondered whether recent adaptations of MotOE are putting much more emphasis on Poirot’s dilemma at the denouement (I’m looking at you Ken Branagh). I would say that Poirot in the books is often quite content for justice to be done one way or another. Indeed he is the one who offers the ‘alternative’ solution to Bouc.
Overall a thoroughly enjoyable production - I’m looking forward to Death of the Nile!
(Are you planning on doing a review of Toward Zero?)
I have now finished watching Towards Zero - I actually quite enjoyed it. It didn't quite have the charm or confusion of the Hugh Bonneville radio adaptation, but I didn't feel that it was any more careless with the source material than most other Christie adaptations. I suspect that the complete absence of Inspector Battle was a step too far for some - but Netflix will soon be making up for that with their all-star adaptation of the Seven Dials Mystery.
Thanks Martin! It's good to see new stage adaptations of Christie's books. I wonder if they'll keep going after Death on the Nile and, if so, what they'll choose next...
I was thinking that set design for Orient Express would be the biggest challenge and possibly why it hasn't been adapted for the stage as often as The Mousetrap or Witness have. The photograph you shared gives me an interesting glimpse. Very clever!
Yes, it is a clever piece of design and engineering. The carriages were movable and had detachable sections, so they could show inside compartments like in the photo, or just have one compartment, or show the corridor etc.
Just arrived home from the final Bath performance. As you mentioned the staging was phenomenally well executed. I think I would agree about the characterisation of Poirot himself straying a little bit from the Christie source material. It bothered me a little that Poirot perhaps wasn’t vain enough - the great man would never need to introduce himself to the audience, he would assume we all knew who he was already! I also wondered whether recent adaptations of MotOE are putting much more emphasis on Poirot’s dilemma at the denouement (I’m looking at you Ken Branagh). I would say that Poirot in the books is often quite content for justice to be done one way or another. Indeed he is the one who offers the ‘alternative’ solution to Bouc.
Overall a thoroughly enjoyable production - I’m looking forward to Death of the Nile!
(Are you planning on doing a review of Toward Zero?)
I'm glad you enjoyed it! That's a fair comment on the denouement dilemma. We've already booked tickets for Death on the Nile.
I've avoided Towards Zero, having generally heard negative reviews from Christie fans...
I have now finished watching Towards Zero - I actually quite enjoyed it. It didn't quite have the charm or confusion of the Hugh Bonneville radio adaptation, but I didn't feel that it was any more careless with the source material than most other Christie adaptations. I suspect that the complete absence of Inspector Battle was a step too far for some - but Netflix will soon be making up for that with their all-star adaptation of the Seven Dials Mystery.
I'd missed that Seven Dials news. One of my least favourite Christie novels, so at least if they make a mess of it, I won't mind so much...
Happy (early) birthday! What a fun night out. The set design looks stunning. So cool!
Thanks Brooke! It was fun!
Very interesting.
Thanks Martin! It's good to see new stage adaptations of Christie's books. I wonder if they'll keep going after Death on the Nile and, if so, what they'll choose next...
I was thinking that set design for Orient Express would be the biggest challenge and possibly why it hasn't been adapted for the stage as often as The Mousetrap or Witness have. The photograph you shared gives me an interesting glimpse. Very clever!
Yes, it is a clever piece of design and engineering. The carriages were movable and had detachable sections, so they could show inside compartments like in the photo, or just have one compartment, or show the corridor etc.
Wow. I'd go to the play just to see that!