First Class Train Trip to Mystery

Murder on the Orient Express – Drury Lane Theatre

It’s 1934 and upon arriving at the elegant Tokatlian Hotel for a holiday, the world-famous detective, Hercule Poirot finds a telegram waiting for him. It instructs him to return immediately to London, taking the luxury train, the Orient Express, from Istanbul. Although the train is heavily booked for this time of year, Poirot runs into his old friend, Monsieur Bouc, who is a fellow Belgian and the Director the railway company. Bouc happily gives up his compartment to Poirot, so that the detective can immediately begin his journey in style.

And thus begins one of Agatha Christie’s most beloved mystery novels. The book is so revered by other authors it’s included in the Mystery Writers of America list of Top 100 Sleuthing Novels of All Time. Not only is this story a popular tantalizing brainteaser by the first lady of the English Mystery, but it’s a tale that’s been adapted several times for the radio, TV, film and even into a board game. Now it’s a finely crafted stage play by one of America’s most popular and prolific playwrights, Ken Ludwig. If his name sounds familiar, it’s because his work includes the hilarious comedies “Lend Me a Tenor,” “Moon Over Buffalo,” and the book for the musicals “Crazy For You” and “An American in Paris,” among many other plays. Now Drury Lane Theatre has mounted a breathtaking, stylish and absolute Broadway caliber production that Chicagoland will be talking about for years to come.

Returning to the renowned Oakbrook Terrace theatre, Jessica Fisch directs another Agatha Christie mystery, after her magnificent and stylish production of “And Then There Were None.” It must be said that Ms Fisch has outdone herself with “Murder on the Orient Express.” This isn’t an easy story to stage, with its intricate storyline and multiple locations. But she has brought this mystery most foul to life in a way never to be forgotten. She’s assembled a brilliantly talented cast, all of whom she’s guided into giving the best performances imaginable. And Ms Fisch is supported by a team of some of Chicago’s finest artists and technical support. The overall effect is perfection, in every way.

Larry Yando absolutely commands the stage as that famed private detective, Hercule Poirot. This superb actor is primarily known to most Chicagoland audiences as Ebenezer Scrooge, in Goodman Theatre’s annual holiday production of “A Christmas Carol.” For many others, Yando will be remembered for his unforgettable performance as Scar, in the national tour of “The Lion King.” He’s played many different characters on almost every stage throughout the Windy City. But anyone familiar with his previous theatrical work will be astounded at how this gifted actor has transformed into Agatha Christie’s famous Belgian. He knows how to play up the comedy in this character, without going overboard, while still bringing a great deal of pathos to his character. There’s a moment near the end of the play when Poirot must deeply search his soul, regarding the solution to this astounding and baffling case. It’s the moment I’ll always remember from this play.

The supporting cast, all of whom will probably be familiar faces to avid theatergoers, is terrific, as well. Janet Ulrich Brooks is hilarious as Helen Hubbard, the outspoken American actress who’s a real “Karen,” traveling aboard the Orient Express. She’s brash, loud and rubs everyone the wrong way. Ms Brooks gives one of her finest performances by leaving no comic moment untapped. Peggy Roeder, another skilled veteran of just about every theatre in Chicagoland and beyond is deliciously haughty and pompous as the Russian Princess Dragomiroff. She’s the mistress of the poisonous stink eye. And if she looks familiar, it may be because Ms Roeder also frequently appears on several TV shows and in films. Both these actresses turn into funny sparring partners, and their tense relationship adds another delightful element to the story.

Leah Morrow is terrific and quite funny as Greta Ohlsson the Princess’ melodramatic young assistant, who “helps little babies in Africa.” Lovely Diana Coates is strong, stylish and a mistress of dialects (thanks to the work by dialect coach, Eva Brennamen) as the Countess Andreyni. She’s a medical professional and someone who surprisingly catches Poirot’s eye and intellect. Ryan Imhoff masters the hot temperament and Scottish accent of Colonel Arbuthnot, and Sarah Lo makes a beautiful, elegant victim as his lover, Mary Debenham. Karmann Bajuyo demonstrates his versatility, playing both the Head Waiter at the hotel and Michel, the Conductor aboard the Orient Express. Bully Samuel Ratchett is portrayed with venom by character actor Keith Kupferer; and the role of Hector MacQueen, Ratchett’s put-upon, ill-treated secretary, is owned by Sam Boeck. And Monsieur Bouc, Poirot’s close friend, and the Dr. Watson to his Sherlock Holmes, is nicely played with panache by Sean Blake.

But while this gifted cast brings the story to life through Agatha Christie’s wonderful characters, the look and sound of this production are the collective work of a great technical support team. The prologue to this story, based upon the notorious 1932 Lindbergh kidnapping, is told through a shadowy b&w noir film by Anthony Churchill. The movie’s observed by the entire cast, seen only in silhouette, and it beautifully sets the tone for this entire production. As the play progresses, Churchill’s snowstorm effect makes the dilemma the characters are in seem particularly frightening and claustrophobic. Add in the sound design and original music by Mikhail Fiskel and Jeffrey Levin, and the terror of this production is elevated to the max.   

When a set change gets thunderous applause as a new locale revolves into view, you know the scenic design is superior. Andrew Boyce has outdone himself, even after his prior stylish black and white Art Deco design for Drury Lane’s “And Then There Were None.” Without giving anything away, just come to this production knowing that you’ll be dazzled every time the giant turntable spins around, revealing a another view of the Orient Express. Paul Toben’s exquisite lighting design adds yet another level of suspense to this mystery play, and helps tell the story in ways that have to be seen to be appreciated. And Jessica Pabst has created a gorgeous wardrobe of period fashions for the entire cast that are accented with authenticity by Emily Young’s hair and wig designs.

The phrase, “This production should not be missed” is sometimes overused. But trust me: this is one play that has it all and should be on every theatergoer’s list of must-see productions. Drury Lane has done it again and, as Fall starts to nip the air, and we begin to think of Halloween, this wonderful show, headed by a gifted director with a sound vision, and featuring a fantastic cast of characters and exceptional technical support, is absolutely THE play of the season.       

Highly Recommended

Reviewed by Colin Douglas

Presented August 31-October 23 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, IL.

Tickets are available in person at the Drury Lane box office, by calling 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.