Review by John Joseph Fahey
For several seasons, this publication has published reviews of some of the productions presented at the Asolo Repertory Theatre in Sarasota, Florida. In association with Florida State University and the MFA Acting Program, audiences have been treated with some fine dramas and musicals at this impressive venue on Florida’s central west coast. The 2019-2020 season (actually its 61st!) proved to be just as exciting. As well as offering several projects, this Asolo production of Agatha Christie’s Murder on the Orient Express, performing from January 10th through March 10th, was not to be missed!
Murder on the Orient Express was written by one of the most famous of all mystery writers and first published in the Great Britain and the United States in 1934, and various productions have entertained audiences via stage, film, and television; however, this production adapted for the stage by Ken Ludwig, is rich in style as well as acting; and of course with an element so salient in theatre – the suspension of disbelieve – the audience becomes captivated and thoroughly drawn into the story plot leading to a plausible yet still unexpected resolution – especially pertinent in the genre of mystery. However, for the benefit for those who enjoy a good whodunit story and who do not know its outcome, the ending will not be divulged.
One would be remise if the impressive set design by Paul Tate de Poo III and Lighting Designer Jax Messenger were not mentioned. With the imposing sets – a train on route from Istanbul to London replete with authentic lighting and accoutrements and flexible and smooth set changes – this striking realistic scenery augments the production along with a fast moving and engaging chronical revolving around the murder of a businessman in his berth – a businessman whose reputation and character was disreputable and caused him to make no less than quite a few enemies; an enemy it seems who is also traveling on the Orient Express.
With an engrossing murder mystery and with a subsequent provoking investigation by an eminent sleuth, the audience is also indulged into an historical event that serves as catalyst: the murder is triggered by the appalling and disturbing kidnapping of a little girl; however, the actual event occurred two years before the play’s publication and the abduction was not of a girl but of the Lindbergh baby, Charles Augustus Lindbergh, Jr.
This production utilizes effective projection design by Gregg Emetoz which allows the audience to go back in time to observe some of the conduct of the suspects in question – providing a little more insight for the genesis of the crime.
The essence of the story is that there is a motley group of travelers on the London bound Orient Express who happen to be enclosed in a venue where a murder has been committed; and with a snowstorm making the journey precarious, and the relatively few passengers on the trip, the crime poses not just a homicide but a logistic dilemma as well. A captive group, yes, but the $64,000 question remains: why? Why commit such a crime on a train where there would be no likely place for the culprit to hide? And who among the passengers, all coming from different backgrounds, would be involved in such a slaying? Oh, well, that is for the audience to deduce. The audience and, of course, perhaps one of the world’s leading detectives, Hercule Poirot, Christie’s renown Belgian investigator, of which actor James Devita’s portrayal is persuasive and strong – as are the character portrayals of the company’s other actors.
The cast includes Joe Ferrarelli as Marcel; Jonathan Grunert as Colonel Arbuthnot; Helen Joo Lee as Mary; Tina Stafford as Helen; Grant Chapman as Hector; David Breitbarth as Monsieur Bouc; Peggy Roeder as the Princess; Alex Pelletier as Greta; Gregg Weiner as Michel the Conductor; Matt Decaro as Samuel; Diana Coates as the Countess; Michael Judah as Jacques; Brian Ritchie as Mr. Mallowan and Carla Corvo as Miss Westmacott and Cora Messer as the Little Girl.
Peter Amster directed.
For those who might be visiting the Sarasota area this spring, some of the remaining productions at the Asolo are Into the Breeches, through March 31st; The Great Leap through April 12th; Knoxville, playing from April 10th to the 25th; Hood: A Robin Hood Musical Adventure performing from May 5th through the 31st and Snow White, playing from June 12 through the 28th.
