Murder on the Orient Express
Arvada Center: 1/31 – 5/17
The cast of Murder on the Orient Express
Agatha Christie’s MURDER ON THE ORIENT EXPRESS was published in 1934.
Adapted for the screen, this murder mystery was directed by Sidney Lumet in 1974, and by Kenneth Branaugh in 2017. Subsequently Ken Ludwig has adapted it for the stage.
Brimming with delicious characters and overflowing with suspense, Mr. Ludwig’s adaptation has now been directed by Geoffrey Kent for Arvada Center.
This production is a triumph in every respect. Director Kent has cast the show impeccably and paced it like a runaway locomotive. His ingenious choice to choreograph the scene changes by having the actors remove and/or replace stage furniture is carried out with the precision of a military drill.
Upon entering the Arvada Center’s black box theatre which has been reconfigured for in-the-round viewing, one finds himself within the illusion of an international train station in 1934.
Thanks to Brian Mallgrave’s inventive scenic design and Shannon McKinney’s superb lighting design one is transported visually.
It is, however, Jason Ducat’s sound design which gives us our auditory ticket. His is perhaps the most evocative sound design this reviewer has experienced in several years.
Mr. Ducat’s sonic choices took this reviewer back half a century to European travel by train – primarily in France. Ducat’s choices for sound effects and musical bridges between the scenes enhance the production immeasurably.
The technical work for the set-up creates a sense of exhilarating anticipation in the theatregoer that gives one goosebumps even before we meet the actors.
Once the actors have entered, we are regaled with dazzling costumes that are the work of master costume designer Kevin Copenhaver. Although the entire cast is outfitted in wardrobe that is striking, the exquisite frocks for Ms. Weiss as Princess Dragamiroff and Annie Barbour as Countess Andrenyi, are truly eye-popping. The sensible chic costuming for Ms. Austgen as Mary Debenham is also extremely easy on the eye.
The director has cast a very fine actor named Kevin Rich in the role of Hercule Poirot. Rich does a fine job creating his own debonair take on Agatha Christie’s famous detective, without relying on the work of previous actors or our memories of the stereotypical Poirot.
Kevin Hart (Marlowe Award for his Willy Loman in The Edge Theatre’s “DEATH OF A SALESMAN”) is outstanding as Monsieur Bouc, the owner of the railway line. From his back-slapping bonhomie upon first meeting Poirot, to his character’s hysterical alarm about a possible scandal, Hart nails it.
Edith Weiss, (Marlowe Award for her performance as Death in the Catamounts’ “EVERYBODY”), portrays Princess Dragomiroff. Ms. Weiss’s spectacular Russian accent, regal presence, and eye-rolling disdain for Greta Ohlsson, make it impossible to take one’s eyes off her.
Emily Van Fleet gets to show off her acting skills as Greta Ohlsson, a missionary who’s an emotional basket case, by whining and dropping to the floor in hysteria at the slightest drop of the proverbial hat.
Annie Barbour plays Countess Andrenyi with an aloof - and alluring - demeanor that is spot on.
Jessica Austgen, (Marlowe Award for her indelible Doreen in Arvada Center’s TARTUFFE), is luminous as Mary Debenham, the secret lover of Colonel Arbuthot.
Kate Gleason is appropriately loud and abrasive as Helen Hubbard, the character played by Lauren Bacall in the 1974 film.
Jake Mendes is well cast as Mr. Ratchet’s nervous secretary, Hector McQueen.
Zachary Andrews plays Colonel Arbuthnot, Mary Debanham’s paramour, with dashing presence and an excellent Scottish accent that leans into one’s memories of Sean Connery.
Josh Robinson plays the know-it-all Head Waiter and Michel, the Conductor, with his usual professional aplomb.
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