Review: “AGATHA CHRISTIE'S MURDER ON THE ORIENT EXPRESS” at The Old Globe

The Old Globe doubles down on bringing famous literary detectives to the stage with a comic twist. They follow their recent Sherlock adaption with the famously fastidious Hercule Poirot in “Agatha Christie’s Murder on The Orient Express.” With a stunning set design and a spirited cast, this whodunit has been extended through October 20th.

The classic murder mystery is no stranger to adaptations; from stage to screen, audiences have watched this infamous train trip, and its cast of eccentric characters tell this tale. For anyone not familiar, Hercule Poirot (Andrew Sellon) is a world-famous detective, one who can solve even the unsolvable. He is in Istanbul for a short respite from crime-solving when he boards the beautiful Orient Express to take him back to London.

His friend Bouc (David Breitbarth), who works for the train company, notes that this leg of the journey is entirely sold out, which is strange for this time of year. However, he manages to find a small room for Poirot. When a businessman named Ratchet (Matthew Patrick Quinn) is murdered on the first night of the trip, Bouc begs Poirot to help solve the mystery.

Thanks to the full train, Poirot has no shortage of suspects to investigate since Ratchett was not a pleasant person to be stuck in the tight quarters of the train.

From Greta, an impassioned missionary (Sophia Oberg) who is acting as the assistant to the regal Princess Dragomiroff (Karole Foreman); Helen, a wealthy Minnesotan socialiette (Mylinda Hull) who has a fondness for bourbon; Colonel Arbuthnot, a Scottish military man (Sam Ashdown) and the woman he loves Mary (Hellen Joo Lee); a physician turned Countess (Ariella Kvashny); Hector the businessman's secretary (Marquis D. Gibson); to even the train conductor Michel (Rajesh Bose).

Most people know that the Orient Express is a luxury train, but even that knowledge cannot prepare you for the truly gorgeous scenic design of Paul Tate DePoo III. The train station gives the depth and length of a waiting train to how the train continually unfolds, revealing more and more stunning compartments. The train compartments are luxurious, but crucially, they still feel like a train car in their limited space and footprint.   The costumes by Tracy Dorman are beautiful, fit each characterization well, and feel like they fit in the luxurious surroundings.

The lighting design by JAX Messenger and the projection design by Greg Emetaz are also essential in helping create the sense of the train's movement and travel—right up until it is stopped by snow, which is projected in a way that only adds to the claustrophobic suspense.

The cast is anchored by Sellon’s Poirot, who is as exacting and particular as ever but seems a bit more emotionally available than might be expected from this character.  After all, you can be dedicated to solving crime and still have time for a close friend, be exasperated by an overzealous American tourist antics, or even flirt a little with a beautiful woman.  

Other standouts in the cast are Kvashny as the lovely and smart Countess, Foreman as the elegant Russian Princess Dragomiroff who has no time for fools, and Hull as the wealthy American Helen who travels for fun and when hearing the rhythm of the train can’t help but break into song, no matter how much her fellow travelers may protest.

Directed by Peter Amster, the play moves at a good pace (helped by Ludwig’s trimming of a few characters), but it feels like the same story overall.  The opening scene of the kidnapping and murder of a young child is in movie form, which further sets the scene with a movie newsreel feel and adds some distance to the live actions on stage. That Ludwig wants the audience to laugh is clear. Still, it never feels like the correct balance between murder mystery and the overly broad comedic moments is achieved, and instead veers from comedy to drama and back again.

This show has a lot to enjoy; when I attended, the audience applauded the train and the scene changes, laughed at some silly antics, and enjoyed the performances. However, the show cannot entirely distance itself from the terrible actions that set this all in motion, which rest uneasily atop all this luxury and laughter.

How To Get Tickets 

 “Agatha Christie’s Murder on The Orient Express” plays through October 20th at The Old Globe Theatre.  For ticket and showtime information, go to www.theoldglobe.org 

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