A retooled ‘Murder on the Orient Express’ wows with passion and humor at the Arvada Center

Even those familiar with the classic whodunit plot will be enthralled with this new adaptation

It takes a great deal of self-assurance to take on a classic such as Agatha Christie’s famous whodunit Murder on the Orient Express. But accomplished comedic playwright Ken Ludwig, of Lend Me a Tenor and Moon Over Buffalo fame, is more than up for the challenge with this delightful, funny adaptation of the murder mystery.

Christie wrote the thriller in 1934, and it’s been widely adapted for radio, film, television, and even a computer game. But there hasn’t been a stage version until the late writer’s estate chose Ludwig to adapt the novel for stage. It debuted in 2017, and the Arvada Center Black Box Repertory is one of the first local theaters to stage the play.

While hard-core Christie fans may decry the creative license that Ludwig has taken with the original novel, I’ll wager that most will appreciate the streamlined characters, well-paced plot and clever dialog and repartee in the stage adaptation. Overall, the changes Ludwig made should still satisfy those familiar with the more complex mystery as well as entertain novices with an easily deducible mystery that presents enough intrigue and curiosity to keep them entertained throughout.

The in-the-round configuration at the Black Box Theatre adds a surprising new element to the staging of the show.

Perfect introduction to theater in the round

Not only did the adapted script deliver, Black Box Repertory’s staging, scenery and acting were also superb. Director Geoffrey Kent brought it all together for a perfect launch to the 2020 Black Box Repertory season. It also served as a strong and seamless introduction to the new “theater in the round” configuration for the theater.

The round stage and surrounding seating are a collaboration between scenic designer Brian Mallgrave and lighting designer Shannon McKinney. As promised, the new configuration takes the background scenery out of the equation and places the emphasis on the actors. While this creates an intimate setting with no walls or other background materials to obscure the action, it also creates a challenge for establishing a set with props and lighting.

Mallgrave’s minimal setting consisted of a circular metal train station sign hanging overhead and matching signs over two main doorways. Despite its simplicity, the masterful lighting and stylized letters managed to evoke the atmosphere of an exotic train station. And McKinney’s lighting helped convert the stage into the narrow, confined train cars where most of the action takes place.

Director Kent once again displays his impeccable sense of timing by having the actors move the props (mainly beds, chairs, tables and lamps) in an almost choreographed manner in the darkened theater. The ebb and flow take full advantage of the four entryways to the stage, where at times all 10 actors gracefully glide the bulky items around each other as they virtually pirouette across the limited space. The “dance” was so well done that, at the end of each complex reset, the audience applauded.

The company’s actors also did an admirable job of creating walls and doors from empty space as they squeezed by one another in the narrow train hallway and maneuvered around in small “compartments” primarily defined by imagination.

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The plot thins

The overall plot for the adaptation stays the same. It begins with when the famed Belgian (not French!) detective, Hercule Poirot stops in Istanbul in 1934 for a much-needed vacation. His plans are disrupted when he is frantically summoned to another case and Poirot finds himself aboard the Orient Express on the way to Calais, sharing a train carriage with an eclectic assortment of first-class travelers from across the globe. The luxurious train is surprisingly full for the time of the year.

Just after midnight, a snowdrift stops the Orient Express in its tracks. In the morning one of the passengers is found dead. The bombastic American tycoon was murdered with his door locked from the inside. Isolated and with everyone on the train a possible suspect, Poirot must identify the murderer – in case he or she decides to strike again.

But while the plot remains familiar, Ludwig has definitely taken some liberties with both the characters and the dialog. His twists don’t substantially impact the plot, but instead make it more conversational and easy to follow by today’s standards. And his dark humor gives the storyline a lightness that plays well against the darker emotions that simmer just beneath the surface.

Perhaps the greatest difference in the adaptation is the unsettling opening scene, which literally sets the stage for the murderer(s)’ motive. While understanding the motive is key, it is a discordant note that seems somewhat out of place with the rest of the script.

Melodramatic flair

It would have been easy for the new staging to upstage the actors, but the Black Box Company’s solid performance placed the actors front and center. The good news for those familiar with the company is that several of last season’s actors are back, including Zachary Andrews, Annie Barbour, Kevin Hart, Josh Robinson and Emily Van Fleet. The chemistry between these veterans and the new company players shines through and you can’t help but feel that they are enjoying the production as much as the audience.

The play’s cast is an array of interesting characters from across the globe and they are all suspects, including Samuel Ratchett (Andrews) the off-putting American businessman; the assistant to Ratchett, Hector MacQueen (Jake Mendes); Princess Dragonmiroff (Edith Weiss), a Russian Royal; the Princess’ assistant, Greta Ohlsson (Van Fleet); medically trained Countess Andrenyi (Barbour); Mary Debenham (Jessica Austgen) a mystery woman who is apparently a nanny by trade; and Head Waiter/Michel the Conductor (Josh Robinson).

One of the more interesting departures of this adaptation is that the characters are more like classic American melodrama characters with overflowing emotions, side-long glances and witty repartee.

In particular, Hubbard, the obnoxious American multiple divorcee and main suspect, is different from the book and films. She is flawlessly played by veteran Denver actor Kate Gleason, bringing a delightful energy and spark to the character who is the major foil to Poirot.

Gleason’s interplay with the imperious Russian Princess Dragomiroff, deftly played by Weiss, is one of the highlights of the last act. Both actors have perfect comedic timing as they hurl veiled — and not-so-veiled insults —at one another.

And who else should play the persnickety but brilliant sleuth Poirot but Shakespearean actor and instructor Kevin Rich of Boulder? This is Rich’s Arvada Center debut and he nails the over-the-top accent and bombastic attitude with flair. His imperious demeanor never wavers as attempts to impose some semblance of order out of the chaos created by his fellow travelers. (He also carries off the obligatory mustache with panache.)

His dear friend and confidante, Monsieur Bouc is played by Kevin Hart, who perfectly balances out the high-strung Poirot with his warmth and concern over his passengers – and his train company.

The variety of accents does make it a bit challenging at times, but local dialect coach Jeffrey Parker (in his debut with the Arvada Center) has done a good job overall of keeping them distinct and consistent.

Detailed costumes set the tone

Detailed period costumes balance the austere set and help complete the characters and differentiate between them. The meticulous details set the stage for the time period and provide color on an otherwise muted stage. Costume designer Kevin Copenhaver of DCPA fame creations spanned the spectrum, from the extravagant multi-colored and textured coat for the Russian Princess (Weiss), to the austere but functional attire of the English nanny Debenham (Austgen).

While Agatha Christie’s Murder on the Orient Express may be a slight disappointment to classic murder mystery fans with its distractions and simplifications, when it’s staged and performed at the level executed by the Black Box Company it’s easy to forgive any plot holes and simply revel in the sheer entertainment.