It's practically the same thing -- except that in this instance, I do prefer the play. Since the prose version is a novella (or extended short story), there is by far not as much elaboration in terms of characters etc. -- or not as much more -- as in, e.g., "Death on the Nile" vs. "Murder on the Nile"; it's just a little more of stage setting, and the play gains a lot if performed even moderately well. (And I've seen it several times; it just *is* the kind of play that seems to bring out the best in every theatrical company.)
Ah, good that the stage version is not very different. I'm curious how it works in novella form, tho, as I always imagined that the "big reveal" is very much written for actors creating shocked expressions on stage. Tho, of course, there are similar reveals in other stories...not typing out the one obvious one as someone might come across it as a spoiler.
Incidentally: Revisiting the last story in this collection reminded me of yet another connection (albeit of the "six degrees of separation" kind) between the worlds of Poirot and Miss Marple. The story is called "The Love Detectives", and it's a Quin & Satterthwaite story ... in which the Chief Constable formally in charge of the murder investigation is Colonel Melchett; i.e., the same Chief Constable whose jurisdiction also comprises St. Mary Mead, who is a friend of Mr. Satterthwaite's. And as we know from "Three Act Tragedy", Mr. Satterthwaite is also an acquaintance of M. Poirot ...
I know about the Quin and Satterthwaite connection, but didn't know that Melchett left the Marple-verse.
Also, I am sure Satterthwaite popped up somewhere else recently....in a short story.
Also, I am sure Satterthwaite popped up somewhere else recently....in a short story.