FOR the majority of people, the years between the two world wars were full of financial depression and mass unemployment, and could hardly be described as times full of glamour and luxury. If you could afford it however, it was a time when sophisticated glamour and luxury travel reached a height never to be surpassed. And nothing brought those two things – luxury and glamour – together MORE than the legendary Orient Express train.

What better setting therefore for the “queen of mystery writers”, Agatha Christie, to place her fussy, meticulous-about-arranging-the-facts Belgian Detective Hercule Poirot, along with eight obvious suspects. Although it is David Suchet’s outstanding interpretation in the BBC series which most readily springs to mind, he was not the first to create the character in a film version. The tall, lean, clean- shaven Austin Trevor did that in three 1930s movies.

In more recent times, the role of the prissy, opinionated detective travelling on the Orient Express has attracted Albert Finney, Peter Ustinov and Kenneth Branagh, all bringing distinctive personalities and physical attributes to their portrayasl. Which, if any, of the characteristics of his predecessors in the role was Michael Maloney going to bring to his stage version of Poirot? Because of his physical attributes, Suchet sprang into view, but, too old and experienced a hand than be caught doing an impersonation, Maloney brought a sharper, more irritable edge to his portrayal. When at last he lost patience with his suspects, none of whom turned out to be what they first claimed to be, his cry of “You are all liars” came right from the heart.

When, the morning after the train comes to a halt in a snow drift, gangster racketeer Ratchett/Cassetti (Simon Cotton) is discovered murdered with multiple stab wounds, the suspects are paraded before Poirot. They are Paul Keating’s Hector Macqueen, the victim’s secretary, Mila Carter’s cool Countess Andrenyi, Debbie Chazen’s fiery Princess Dragomiroff, Rebecca Charles’ nervous Swedish missionary, Christine Kavanagh’s poised actress Helen Hubbard, Jean-Baptiste Fillon’s a-little-too-perfect train conductor, and what IS the secret behind the relationship of the arrogant Colonel (Rishi Rian) and the demure English teacher Mary Debenham (Iniki Mariano)?

Without giving anything away, I think you can rule out Bob Barrett, as train director Monsieur Bouc, who ,following in Poirot’s friend Captain Hastings’ path, brings some pleasant light relief to proceedings.

Matching and often surpassing the work of the actors are the effects created by designer Mike Britton and the other design teams. The glamour and luxury of the Orient Express are brought to life, and magically, with no apparent effort, moved from one area to another.

You will have to keep alert to discover how all these characters are connected to the kidnap and death of three-year-old Daisy Amstrong, daughter of rich American parents, and who gave Mr Rachett his just deserts. If you can not get along to the Theatre Royal Bath between now and Saturday, there is another chance to see this crisp production between 29th April and 3rd May at Cheltenham’s Everyman Theatre.

GRP