For Richmonders who have visited Busch Gardens, the start of Virginia Rep’s Murder on the Orient Express might inspire some familiar feelings. Before the show, an immersive voiceover treats you as a passenger on The Orient Express, a luxury train service winding through continental Europe, as it guides you through the theater’s notices and housekeeping items. Then the room goes dark. You wait in suspense—and the thrill of the ride begins.
Virginia Rep’s production of Agatha Christie’s beloved murder mystery is a fun and engrossing piece of fall entertainment. Considering the subject matter, the show is sometimes surprisingly funny and light. The stark differences between the script’s somber and silly moments are a little disorienting at times, but on the whole, the play’s tonal differences work because they are grounded in detective Hercule Poirot’s narration. Poirot is droll and clever, but he also struggles with elements of the case he seeks to solve. These complex moral considerations elevate Murder on the Orient Express from a whimsical whodunit to a story with more depth and staying power.
Agatha Christie’s Iconic Characters
Poirot is both the story’s narrator and the animating force behind most scenes, and Lawrence Redmond shines in the role. He is a confident guide the audience can trust to walk us through the mystery from beginning to end. In every scene, Redmond’s Poirot exudes perceptiveness and capability. His motions are fluid and sweeping. He is empathetic and gentle in some contexts and terse in others, but it feels like he’s always ultimately in total control of himself and the situation. Redmond’s expressions are perfectly exaggerated to make an impact behind Poirot’s striking mustache, and his performance is really delightful and impressive.
I also really enjoyed Frank Britton’s turn as Monsieur Bouc, and especially the interplay between the two of them. Bouc is gregarious and bold. He is clearly out of his element with Poirot’s detective work, but he’s also sharp and authoritative in his own ways: he has a friendly way of effectively strong-arming his old friend, and he knows how to handle difficult guests. Their partnership is charming and compelling. Britton and Redmond also both do an admirable job with the accent work required by their roles, keeping the viewer engrossed in their characters and reminded of their shared background.
On the Orient Express, the two men are surrounded by a collection of memorable and outrageous characters—some of whom we have encountered before they arrive at the station. A mystery play like this one requires actors to introduce their characters with clearly drawn lines, knowing that members of the audience may be constantly analyzing and questioning aspects of each individual’s performance to search for clues. Susan Sanford, who was excellent in last fall’s Virginia Rep production of Misery, gives another big performance as Helen Hubbard. It is immediately evident who this character is from her first conversation onstage. Hubbard is obnoxious, but I also found her inexplicably charming and felt myself rooting for her in many of her squabbles. Ashley Thompson is also great as the slightly more elusive Countess Andrenyi, wry and observant where many other figures on the train position themselves as more straightforward figures. This cast leaves breadcrumbs that are satisfying no matter what: you either understand why certain choices are being made as you watch, or you appreciate them once their mysteries are revealed.
I loved the costume design under Costume Designer Kendra Rai. The clothing was so fun, beautiful, and communicated so much about the characters wearing it. There is a lot of variety in the outfits, which help clearly define each character, while all enhancing the place, time, and sumptuousness of the train setting. I adored that Susan Sanford’s Helen Hubbard wore heeled slippers with her elaborate bedclothes on the train. The passengers’ jewelry glimmered under the stage lights, enhancing the sense of luxury in their backgrounds.
Things Are Not as They Seem
There are some structural limitations involved in staging a murder mystery in a theater compared to the flexibilities of the screen or page. This production navigates these challenges well: the campy performances work hand-in-hand with the logistical need for characters to run in circles while weaving their way into different rooms. Some of the projected sequences were more effective than others, but I really enjoyed the way projections were used to illustrate an important part of the clue-gathering process. I especially loved the depth and fullness the projected backgrounds contributed to each scene.
Virginia Rep’s Murder on the Orient Express foregrounds the train setting. The sets are stunning and luxurious, with complicated components and beautiful details like the stained glass work in the train cars. At the same time, the staging highlights how the train makes people’s movements cramped and awkward. You see the unwelcoming cold of the terrain outside. The clever direction, lighting, and sound during the conductor’s updates underscore the contradiction between the train’s cushy appearance and industrial workings, the safety and danger presented by the train and the snowy world outside, and the sense that things are not as they appear.
A Rewarding Story for Old and New Fans
I never read Murder on the Orient Express (I was more of a Miss Marple kid) and watched the play without knowing anything about the story. I found the whodunit gripping—and loved the moments where Poirot voiced my own doubts as a viewer suspicious of the typical beats and misdirections in a murder mystery. I thought the aspects of the case that challenged Poirot were genuinely moving, and I appreciated the parts of the story that surprised me. Featuring stellar performances and ambitious storytelling and design, I expect Virginia Rep’s production has a lot to offer for those who love the story as well as those with no prior knowledge.
Murder on the Orient Express runs through October 12 at Virginia Rep’s November Theatre. The play is approximately two hours and 15 minutes with a 15-minute intermission. It includes depictions of violence, death, and suicide, and there are gunshot sounds in the production. Virginia Rep recommends the production for teens and up. For more information and tickets, click here.
