Review: MURDER ON THE ORIENT EXPRESS Is A Sumptuous Ride At CCBC Dundalk Through March 15, 2026

Beautiful theater, gorgeous set, sumptuous costumes and colorfully drawn characters only scratch the surface of Agatha Christie's MURDER ON THE ORIENT EXPRESS at Dundalk Community College- sorry, Community College of Baltimore County- Dundalk. The story is complicated and intriguing, the acting appropriately melodramatic and technical effects smoothly rendered.

This theater’s attention to detail begins in the lobby, where lovingly curated memorabilia related to various stage and film productions of "Murder On The Orient Express," originally written by Agatha Christie in 1934. Nearly one hundred years later, adapted for the stage by Ken Ludwig, it continues to be a popular crowd pleaser, as evidenced by the well-filled theater on this Sunday afternoon.

The opening to the show, in direct counterpoint to the 1974 Paramount film version of the show, which was entirely visuals with music backing it, disembodied audio plays like a radio drama in darkness, setting the scene for what is to come after. 

Director Joey Hellman assembles a stellar cast who do justice to the entertaining characters in the show. Poirot’s direct addresses to the audience are effective as well as expository. Ken Ludwig, who adapted the Agatha Christie tale for the stage in 2017, retains the charm of the piece, giving it another iteration beyond storybook and screen.   

Be prepared for a variety of international accents, or facsimilies therof- there are a lot of accents in the show, well-rendered and extremely helpful for keeping track of who is whom and how they are interrelated. Poirot is notably taller than I expect, and presents a more rumpled-earth-tone-English aesthetic than that of a dapper Belgian fop. Greg Guyton playing Poirot is quite good as a character, and certainly sounds the part despite not looking as I expect. His compatriot Bouc is played by Randy Dalmas with a believable accent and endearing flusteredness. Kendra Keiser plays Princess Dragomiroff and is simply magnificent in bearing, carriage and delivery. Playing Mary Debenham, Laura Weiss is suitably stuffy and English. Holly Pasciullo seems to be having the time of her life portraying the brash and headstrong Mrs. Helen Hubbard. In the understated role of train conductor Michel, David DeFrank is genuine and dignified. Bill Kohlhoff, who plays Ratchett, is appropriately despicable. Playing Countess Andrenyi, Ashley Gerhardt is very striking and lovely. Hector MacQueen, played by Albert Boeren, seems, in his American-ness, like a foreigner amongst the international characters. As Headwaiter, Kyle Nolla carries off obsequious like a champ. Brian Boys, portraying Colonel Arbuthnot, is quite the sturdy English duffer.  As Greta Ohlsson, Jennifer Otero is convincing as a humble supplicant, suspiciously prone to weeping and most theatrically devoted to her special cause. 

Set design, lighting, sound design and technical direction are by Marc W. Smith. The train set works very well and is cleverly created. The colors and logo are historically accurate, a detail which pleases several old theater techs in the crowd. The sound design is solid, adds much to the whole effect and is well executed.  The mesmerizing continuous snowfall effect, while contributing to the trapped and stifling feeling that the audience then shares with the cast, additionally is quite soporific and lulls observers into quietude; also, oddly, it seems to be falling inside the train as well as outside it. 

Set Construction Crew Andrew J Boeren, Kim O’Donnell, Marc W. Smith, who also operate (respectively) Fly Deck, Light Board and Sound Effects, are to be commended on the fine execution of the train as well as the smooth operation of technical effects throughout the show.

Costuming is by Tammy Oppel, who begins by dressing everyone most sumptuously, then adds to the overall look with excellently done special touches, such as the VERY sensible English shoes worn by Mary Debenham, and the cowboy hat being used to signify American-ness. These details contribute to the satisfying visual feast of the production.

The beautiful theater inside of CCBC Dundalk hosts an equally beautiful production. What a treat to view this classic, seeing and hearing people respond to its twists and turns as if seeing it for the first time- or perhaps actually seeing it for the first time- realizing that writing that’s worth watching even a century later is a rarity and a prize.

Photo: Cast of MURDER ON THE ORIENT EXPRESS

Photo Credit: Trent Traines-Hopper Photographer

MURDER ON THE ORIENT EXPRESS plays at Alvin and Mary Lloyd College Center, John E. Ravekes Theatre at CCBC Dundalk, 7200 Sollers Point Road

March 6 - 15, 2026; Friday and Saturday at 8pm, Sunday at 3pm 

$25 (adults), $23 (seniors), $18 (student/child) and free for CCBC students with current ID. CCBC Box Office at 443-840-ARTS (2787), online at ccbctickets.com or at the door one hour prior to the performances. Intermission offers snacks; be advised that only water is permitted into the theater.

Final Factoid: Ken Ludwig, author of LEND ME A TENOR, CRAZY FOR YOU and MOON OVER BUFFALO, was asked by the estate of Agatha Christie to adapt her novel for the stage. In my opinion, they asked the right guy.