Review: This Murderous Train Ride Is Worth the Ticket! MURDER ON THE ORIENT EXPRESS opens at Theatre Arlington

 

Agatha Christie’s Murder on the Orient Express

Adapted by: Ken Ludwig

Directed by: Steven D. Morris and Bryan Stevenson

Produced By: Theatre Arlington

 

Audience Rating: PG
Run Time: 2 Hours with a 15 minute Intermission

Accessible Seating: Available
Hearing Devices: Not Available

Sensory Friendly Show: Not Available
ASL Showing: Not Available
Sound Level: Comfortable Volume Level
Audio/Visuals to prepare For: A few gunshot sound effects.

Reviewed by Michael Winters

Agatha Christie’s enduring mystery Murder on the Orient Express finds fresh life on stage through Ken Ludwig’s adaptation, and Theatre Arlington delivers a production that understands exactly what kind of ride this story should be. It’s polished without feeling stiff, theatrical without becoming overblown, and—most importantly—grounded in storytelling that keeps the audience leaning forward.

The premise is simple but loaded: a lavish train, a confined space, and a group of passengers who are far more connected than they first appear. At the center is Hercule Poirot, portrayed by David Coffee with a calm authority that never feels forced. His performance is measured in the best way—every word considered, every movement intentional. Rather than playing Poirot as eccentric for the sake of it, Coffee builds a man driven by order and logic, which makes the cracks in that certainty later on all the more compelling.

The production opens with a jolt. A blazing headlight and the thunder of an approaching train create an immediate sense of urgency, with Ryan Simon’s sound design doing much of the heavy lifting. It’s immersive without being overwhelming, drawing the audience in before they’ve had a chance to settle. The shift into darkness, where we hear the fate of Daisy Armstrong unfold, is handled with restraint. It doesn’t linger too long, but it leaves a mark—just enough to remind us that beneath the clever plotting is something deeply human and painful.

From there, the production moves with confidence. The transition from station to train is particularly well done, with Bryan Stevenson’s set design working in tandem with smooth technical execution to create a sense of motion and place. The rotating train car, built by Master Carpenter Colin Wintersole is more than a visual trick—it becomes a storytelling device, guiding us through compartments and conversations without breaking the rhythm. The projected scenery through the windows adds another layer, subtly reinforcing the sense of isolation as snow closes in around the train.

Hope Cox’s costume design deserves special mention. There’s a richness to the detail that does more than establish period—it tells us who these people are before they even speak. Textures, colors, and silhouettes all work together to suggest status, personality, and even secrets. Deborah Brown’s Princess Dragomiroff is a clear standout, her bold, almost extravagant look perfectly matched to a performance that commands attention without asking for it.

The ensemble is where the production truly finds its strength. Randy Pearlman’s Monsieur Bouc provides a necessary counterbalance to Poirot, bringing warmth and a touch of humor that keeps the tone from becoming too heavy. He reacts in real time, often echoing the audience’s own thoughts, which makes him an effective bridge between the action and those watching it unfold.

Shannon J. McGrann’s Helen Hubbard is another highlight. She leans fully into the character’s big personality, but there’s control underneath the chaos. The humor feels earned, not forced, and her presence adds energy whenever the pace threatens to slow. Olivia Cinquepalmi and Daniel Reulas bring a natural ease to Mary Debenham and Colonel Arbuthnot, creating a connection that feels genuine enough to invest in—an important detail, given where the story ultimately takes them.

Natalie Hinds offers a quieter performance as Greta Ohlsson, one that relies on sincerity rather than showmanship. It’s a smart choice, giving the production a sense of emotional grounding. Meanwhile, Kalumbu Tshibangu’s Michel moves through the action with an understated confidence, keeping the world of the train intact while quietly becoming more significant than he first appears.

Joseph Tully brings a quiet steadiness to Hector MacQueen, though there’s a sense that something is always just beneath the surface. As Ratchett’s secretary, he carries knowledge that slowly begins to unravel the larger truth, helping expose the secrets that drive the story forward.

What stands out most about this production is its sense of control. Nothing feels accidental. The pacing is steady, allowing the mystery to unfold without rushing or dragging. Each reveal is given just enough space to land, and the final moments are handled with care, letting the moral weight of the story settle in without over-explaining it.

In the end, this is a production that trusts both its material and its audience. It doesn’t try to reinvent a well-known story or overwhelm it with unnecessary flourishes. Instead, it focuses on clarity, performance, and atmosphere—and in doing so, delivers a journey that feels both satisfying and surprisingly affecting, asking the question: if the law is not obeyed, do we become barbarians?

Let theatre take you places—it’s worth the ride.

Michael Winters