[Free Lance-Star] Theater review: Riverside's 'Murder on the Orient Express' is a fun ride

GAIL CHOOCHAN- Free Lance-Star

August 22, 2024

At Riverside Center for the Performing Arts, audiences can take a stab at playing detective. “Murder on the Orient Express,” by mystery queen Agatha Christie, arrives onstage with a tantalizing tale of intrigue, romance and, of course, murder.

However, don’t expect a dark and moody drama a la Kenneth Branagh’s 2017 big-screen opus. The show comes with big laughs in this stage adaptation from prolific Washington playwright Ken Ludwig, who has a thing for mysteries. In “Baskerville,” Ludwig spun Arthur Conan Doyle’s Sherlock Holmes mystery into a madcap farce. Then he turned his attention to another iconic sleuth, Hercule Poirot, giving one of Christie’s most beloved novels a comedic makeover.

“Murder on the Orient Express” is quite the departure from the usual musical-heavy offerings at Riverside, and I for one am here for it. And who doesn’t love a good murder mystery?

Christie’s old-fashioned whodunit unfolds over a few days in 1934 on the Orient Express, en route to Calais from Istanbul. The luxury train is teeming with a colorful assortment of characters, from different social classes and countries. When the world-renowned Belgian detective boards the train, he once again finds himself on the case after one of the passengers turns up dead — stabbed multiple times overnight in his compartment. The victim: Samuel Ratchett, a shady American businessman with a mean streak and many enemies.

Could it be the Minnesotan chatterbox Helen Hubbard, the elegant Hungarian Countess Andrenyi, the crotchety Russian Princess Dragomiroff, the mousy Swedish missionary Greta, Colonel Arbuthnot or his gentle lady friend Mary, the train’s head conductor Michel or Ratchett’s own personal secretary Hector? (With this group of international characters, expect a variety of broad and some uneven accents.)

Fans of the literary and screen versions will notice some deviations in Ludwig’s take, especially in the character lineup. The number of suspects has been trimmed down from a dozen to a more manageable eight for the stage.

“Murder on the Orient Express,” featuring sharp direction by Anita Gonzalez, is fueled by energetic performances from the large ensemble cast. The fast-moving production is crowded with Riverside regulars, including favorites Andrea Kahane, Kathy Halenda and Alan Hoffman, who’s doing double duty as Ratchett and the colonel. Kahane and Halenda are always a joy to watch, especially when the chatty Helen and no-nonsense Princess Dragomiroff are trading insults.

Kevin Cleary anchors the show as the mustachioed detective, delivering an assured performance of one of the most popular detectives in the mystery genre. His portrayal balances Poirot’s eccentricities and brilliance, without going overboard. And he exceptionally handles Poirot’s big final speech about law and justice, giving the show some emotional depth. Oppositely, Brent Deekens leans into the comedy as Poirot’s good pal Monsieur Bouc, an amiable and animated fellow in a Watson-like role. The two characters play off each other well.

The rest of the characters aboard the Orient Express are portrayed from refined to ridiculous. As Poirot declares early on, “they are all characters.”

Sheri Hayden pulls in a fine performance as Countess Andrenyi. A picture of elegance, the countess assists Poirot with her medical expertise and has perhaps a bit of spark with the detective. On the other end is Stephanie Wood’s character, Greta Ohlsson, who’s clearly drawn for laughs with her overly exaggerated Swedish accent (yah!) and high-pitched delivery. At times, the cartoony character feels more like a disruption than a diversion in the storytelling.

“Murder on the Orient Express” may be a play, but leave it to Riverside to take advantage of the strong musical talents of its cast. As the flirty drama queen Helen, Kahane treats the audience to a fun little song and dance or two.

Trains evoke a sense of allure and nostalgia, and the creative team have done a marvelous job in conveying that through the art deco-inspired staging and Armando Perez’s costumes. Golden frames highlight Frank Foster’s handsome set design and Michael Jarett’s snowy video projections and lighting work add cinematic flair.

“Murder on the Orient Express” is a bloody good time at Riverside, and here’s hoping there are more of these kind of shows on the way.