Review: AGATHA CHRISTIE'S MURDER ON THE ORIENT EXPRESS at The Royal Theatre in Benton

From now through Sunday, February 22, The Royal Theatre invites audiences aboard a snowbound locomotive packed with secrets in Murder on the Orient Express, brought to the stage by Ken Ludwig from the legendary mystery by Agatha Christie. This elegant and suspenseful production is a first-class theatrical journey filled with intrigue, glamour, and gasp-worthy revelations. Seriously, who doesn’t love a little murder with their entertainment? 

Set in the 1930s aboard the luxurious Orient Express, the story follows the meticulous Belgian detective Hercule Poirot (Zachary Tallent) as he finds himself stranded in a snowdrift with a train full of suspicious passengers. The evening opens with the heartbreaking tragedy of little Daisy Armstrong (Violet Winters), grounding the story in grief and injustice before we are properly introduced to the cast of suspects. 

At the Tokatilian Hotel, passengers dine under the attentive service of Head Waiter Marceau (Jackson Blome), providing a polished prelude to the chaos that will follow. As travelers prepare to board the Orient Express, Monsieur Bouc (Chris Owen) eagerly insists that his famous friend Poirot join the journey. Though Conductor Michel (Kevin Baer) protests that the train is completely full, Bouc graciously offers his own compartment to ensure the detective rides along. 

The passenger list is a fascinating tapestry of personalities. Princess Dragomiroff (Melanie Allen) travels with the earnest missionary Greta Ohlsson (Jamie Partain). Hector Macqueen (Nick Garner) dutifully assists his employer, the ominous Samuel Ratchett (Ben Wright). The elegant Countess Andrenyi (Grace Curtis) journeys alone, as does the outspoken Midwesterner Helen Hubbard (Amanda Kennedy). Secretly entangled romantics Mary Debenham (Rylee Woodard) and Colonel Arbuthnot (Matthew Maguire) board just before departure, their tension simmering beneath polite exteriors. 

Then, in the stillness of night, as snow traps the locomotive in its tracks, Ratchett is found murdered — and the real journey begins. 

Under the confident and polished direction of Tom Crone and Assistant Director Alana Dunn, the production balances sophistication with simmering tension. The pacing allows each interrogation to feel like a strategic chess match, building suspense one carefully placed clue at a time. Before and during the show, pianist Grace Wells plays and sings, enveloping the theatre in period-inspired melodies that transport audiences into the 1930s and heighten the atmosphere of elegance and anticipation. 

This is a true ensemble piece, and the cast works beautifully together. With so many layered suspects sharing the stage, chemistry is essential, and this company delivers it. Each performer brings distinctive character choices while remaining fully connected to the group dynamic, allowing tension to build organically. 

The cast truly leaned into the accents, adding richness and authenticity to Christie’s international world. Tallent’s Poirot carried a precise Belgian cadence that underscored his meticulous brilliance, while Owen’s Bouc exuded continental charm with a smooth French lilt. Together, they served as the steady guides of the story, expertly leading the audience through the maze of clues, interrogations, and revelations. Tallent grounded the investigation with sharp intellect and thoughtful restraint, while Owen provided warmth and momentum, helping transitions flow naturally from one suspect to the next. Their partnership created a strong narrative anchor, allowing the mystery to unfold clearly while maintaining suspense, making the audience feel as though they were discovering each piece of the puzzle right alongside them. 

Curtis’ Countess maintained an elegant, controlled tone befitting her aristocratic stature, and Baer’s Michel grounded the train with a steady European presence. Allen’s Princess commanded attention with regal authority in her voice, and Partain’s Ohlsson embraced a gentle, earnest accent that highlighted the character’s sincerity. These varying inflections blended seamlessly, enhancing the sense that this train truly carried the world aboard it. 

The chemistry between Woodard’s Mary and Maguire’s Colonel was quietly electric, simmering just beneath the surface of their carefully composed exteriors. What made their dynamic especially compelling was the Colonel’s fiercely protective nature. When Maguire allowed that instinct to surface, it was powerful, and when the Colonel’s anger flared, Maguire committed fully. His face visibly flushed, turning a deep shade of red that the audience could clearly see, adding an almost startling realism to the moment.  

Amanda Kennedy’s Helen was particularly entertaining. I loved how she fully embraced the character’s brash, outspoken confidence while still letting layers of vulnerability peek through at just the right moments. Her comedic timing landed beautifully, while her natural ability to command attention never felt forced, keeping her connected to the ensemble.  

Nick Garner and Ben Wright worked in sharp tandem as Hector Macqueen and Samuel Ratchett, creating a dynamic that felt tense between Garner’s Macqueen undercurrent of nervous energy and Wright’s Ratchett who projected a cold, imposing presence. Together, they established a clear power imbalance, which made it that much more enjoyable when Countess Andrenyi slapped Ratchett.  

The scenic design cleverly suggests the confined elegance of a train car, while lighting intensifies the mood of the storyline. Combined with strong performances and immersive atmosphere, the production creates a world where suspicion hangs thick in the air until the final, stunning reveal. 

With assured direction, layered performances, live music, and a cast functioning as a finely tuned ensemble, The Royal Theatre’s Murder on the Orient Express is a gripping tale for mystery lovers and theatre fans alike. For more information and tickets, visit their website at www.theroyaltheatre.org.