A scene from “Murder on the Orient Express”
In the grand tradition of the intricately crafted “whodunnit?” detective novels, Theatre Harrisburg both brings audiences’ imaginations to life while knocking ’em dead with Ken Ludwig’s adaptation of Agatha Christie’s “Murder on the Orient Express.” Its author’s signature paragon brings the perfect balance of cozy mystery and thriller, broken free from its time capsule planted almost a century ago.
Even before we meet any of the passengers aboard the Orient Express, we meet the stage’s setting as its own character in the story. The antique elements ground the audience, surrounding us in the story in much the same way we might devour one of Christie’s novels in a café while sipping a favorite beverage, or waiting for our own train.
It’s 1934, and an old-timey radio blares the news that a killer is at large. The night air, thick with haze, carries a sense of moody mystery looming in the shadows. Women wearing houndstooth, furs and cloaks carry suitcases with handles to a train platform. Men bustle about in their overcoats, unfolding and re-folding crisp newspapers. The platform is faded brown and yellow, like old parchment.
Costume designer (Paul Foltz), props designer (Kalina Barrett) and scenic designer (Lea Pick) artfully bring together upper-class touches. Also a special kudos to the lighting designer (Matthew Mitra), whose perfect lighting cues and shadowing made certain plot points come alive, even if not all Christie’s characters made it to the end that way. Director Matt Spencer applies a similar sense of continuity and cohesion to dynamics between cast members, the great majority of whom are seasoned Theatre Harrisburg veterans.
Belgian detective Hercule Poirot (Darren Riddle) is aboard the luxurious Orient Express in Istanbul, along with a manifest of fellow first-class passengers so diverse that their varied countries of origin alone would tip off border patrol. On the very first night, Samuel Ratchett (Toby Bradbury) is murdered in his sleeping chambers. With a killer at large on this opulent train that becomes stranded in a snowstorm, and persuaded by friend and train owner, Monsieur Bouc (Gordon Einhorn), Poirot pauses his vacation to figure out whodunnit.
Riddle brings to the impeccably presented Poirot character a measured rhythm, a methodical delivery, haughty mannerisms, and Poirot’s ability to make everyone around him nervous. With assumed authority, Poirot could teach a masterclass in deductive reasoning, keenly collecting and analyzing every detail as the investigation progresses. It’s amazing what conclusions he can pull together with clues of the time, such as a handkerchief, a pocket watch or a hatbox.
…the latter of which Countess Andrenyi (Becky Mease) can easily produce from her own chamber, because who doesn’t travel with a hatbox? Mease reveals an initially cool character, with a range of heightened emotions she taps in concentrated spurts throughout the play. With paralleled energy, Michel the Conductor (Quentin West) rides moderate emotional rails under scrutiny, planting just the right amount of believability and doubt, then surges at an opportune moment. Joel Colvin, as the slightly quirkier and stalkerish Hector MacQueen, reveals his character’s anger under Poirot’s interview spotlight in a relatable way. Anger is also the leading emotion for Mary Debenham (Christine Tompkins) and Colonel Arbuthnot (Bradbury), both delivering convincing outbursts that reveal just enough of the plot to keep the story moving.
As the over-the-top Helen Hubbard, TheBurg’s own M. Diane McCormick commands the stage through her pistol of a character. Although literally afraid of pistols, she doesn’t shy away from conflict, either by throwing the first punch or by defending herself. (McCormick also shows onstage what this writer knows to be uncharacteristic restraint while taking a small swig of bourbon.) Hubbard’s oversharing and attention-seeking make everyone uncomfortable, including the prissy Princess Dragomiroff (Beth McIntosh). McIntosh does a smashing job of hobbling around the train, looking down her snoot at everyone. This includes her overly anxious companion, Greta Ohlsson (Alison Whipple), who was just backwards enough to simultaneously evoke sympathy and inject comedy, with her performance peaking during her outburst scenes.
Right up until Poirot’s big reveal ending that ties up all loose ends in the story, questions linger about everyone’s motivations, making it difficult to pinpoint just one suspect. It’s a mysterious and emotionally jarring ride from Istanbul to London. And when you learn whodunnit and why, you might find yourself speculating if you would do it, too.
“Agatha Christie’s Murder on the Orient Express” has already pulled into the station at Whitaker Center for Science and Arts, 222 Market St., Harrisburg. But you’d better hustle to the platform and be all aboard, because they reach the end of the line May 11. To see the online conductor for show times and tickets, visit https://theatreharrisburg.com/shows/murder-on-the-orient-express/.
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