By Lonnie the Theater Lady

In the stage adaptation of Agatha Christie’s novel “Murder on the Orient Express,” a group of seemingly random passengers from various countries are traveling by rail from Istanbul to Calais, Yugoslavia on the luxurious Orient Express. Unfortunately, a blizzard creates a huge snowdrift that stops the train dead in its tracks. The passengers find themselves trapped on the train.

Samuel Ratchett (Eric Leslie), an obnoxious American tycoon is found dead, in his bed after having been stabbed exactly eight times.

Fortunately, the renowned, mustached Belgian detective, Hercule Poirot (Sean Michael Barrett), is one of the passengers. He steps up to do the investigation until the Yugoslavian police can be reached. Solving the case becomes increasingly more challenging as the interviews of the passengers garner contradictory clues and more red herrings than a fishmonger’s slab. Poirot chugs on, full speed ahead until he solves the murder, as he always does. As in all of Christie’s mysteries, the ending is somewhat surprising and wonderfully satisfying.
Sean Michael Barrett as Inspector Hercule Poirot in “Murder on the Orient Express.” Photo Credit: Hawk Photography and Multi Media LLC

Barrett is a perfect Poirot. His character is intelligent, kind, egotistical, pompous and very funny. He masterfully delivers his laugh lines and is rewarded with the audience’s hearty laughter! His is an exceptional, well done, memorable depiction of Poirot. His period costume, all the way down to his spats, accurately befits Poirot’s vanity. (Nina Stumpf, designer)

Monsieur Bouc (John M. Herrmann), the director of the company who owns the Orient Express is believable as the concerned executive who is clearly distressed by the murder. He often humorously jumps to convenient, but incorrect conclusions.

Kathy Hawk throws herself into her role as the glamourous Helen Hubbard. She clearly enjoys embodying Helen’s loud, flamboyant, attention getting behaviors. It’s a joy to watch her exaggerated theatrics.

Candice Fisher delivers a noteworthy performance as the haughty, strong willed Russian aristocrat, Princess Dragomiroff. Her icy tone of voice and steely glare could stop a runaway freight train.

Leslie’s Ratchett is so vile that his seems to be a well deserved death. Leslie plays a dual role. As Colonel Arbuthnot, he summons up a mix of anger and righteous indignation.
Dialect coach, Lisa Ann Goldsmith, does well tutoring the actors in a variety of accents including French, Russian, British. All of the accents are clear and sound authentic.

Tucker Topel not only designed the simple, elegant, versatile set but he skillfully directed the show, as well. The multitude of scenes change smoothly and quickly.

Steve Shapiro’s sound design enhances the onstage action and creates  varying moods. Prolific Pennsylvania playwright, Ken Ludwig’s adaptation sprinkles a full measure of comedy throughout this whodunit/comedy mix.

There was only one small glitch on opening night–one of the actors frequently spoke too softly to be heard. (Most likely due to opening night jitters.) I’m confident that  blip will be addressed and corrected in future performances.

Even if you know the surprising ending to the story (I do)— this well acted, intriguing, humorous production makes for an entertaining, fun evening out. So get your ticket and climb aboard the Orient Express. You’ll be so happy that you did!

-LtTL

“Murder on the Orient Express” runs until September 14th at Little Lake Theatre , 500 Lakeside Drive South, Canonsburg, PA 15317.  For more information, click here.