The timeless allure of Agatha Christie’s works continues to captivate audiences around the globe, as evidenced by two recent productions of her classic play, Murder on the Orient Express. The adrenaline-pumping mystery invites theatergoers to board the fabled train and immerse themselves in the intricacies of human behavior and deception.
At the University of Toronto, the Trinity College Dramatic Society (TCDS) brought the suspenseful tale to life under the direction of Kit Dixon. Adapted by the prolific Ken Ludwig, the production featured Noah Rudder as the famously eccentric detective, Hercule Poirot. Set aboard the luxurious train heading to London from Istanbul during the 1930s, Poirot encounters old acquaintance M. Bouc, portrayed by Juan Parra, and quickly finds himself embroiled in the mysterious murder of businessman Samuel Ratchett, played by James Higgins.
The TCDS production utilized simple yet effective lighting, enhancing transitions between scenes and allowing the audience to follow the complex narrative. Interesting choices were made concerning character accents, which sparked discussions among viewers about their effectiveness; some actors struggled with the varied dialects, potentially distracting from otherwise competent performances. Rudder's portrayal of Poirot shone through, capturing the detective's careful attention to detail, even if the nuances of his delivery occasionally felt overshadowed.
On the other hand, the Chagrin Valley Little Theatre breathed new life and excitement as it prepared to mount its own rendition of Murder on the Orient Express, which hit the stage on January 24. With Director Don Bernardo at the helm, the production promises local audiences an exciting whodunit experience featuring local talents including Adam Young, John-Paul Whitman, and Mim Goloboff among others.
Engagement with the audience is pivotal for both productions, and the varied casts aim to capture the train's opulence and the weighty atmosphere surrounding the murder mystery. Ludwigs’ adaptation not only captures Christie’s storyline but also infuses each character with depth and humor, inviting guests to join Hercule Poirot as he weaves through layers of intrigue.
Audience members at the University of Toronto production particularly enjoyed standout portrayals, including Dorothea Unwin as the hardened veteran Arbuthnot and Aliyah Kashkari as Mrs. Hubbard, expertly balancing drama and humor. Each performance provided glimpses of character complexity, challenging stereotypes often associated with murder mystery archetypes.
The performances sought to balance the seriousness of motives and the underlying humor woven throughout Christie’s tales. For example, Higgins effectively brought the villainy of his character to life without veering too far toward caricature, helping establish the stakes involved.
Critics noted the challenges of conveying character via accents. Despite the talent on display, this decision did not favor immersion and sometimes interfered with audience connections. The TCDS cast's struggles with exaggerated accents detracted scene momentum, but the commitment to character through physicality, as demonstrated by Rudder, created engaging moments.
Both productions serve as reminders of the enduring significance of Christie's works. Audience members and critics alike have shared their enthusiasm for these adaptations, noting the importance of capturing the essence of the original story—whirlwind plots and complex characters. The acclaimed plot twists and moral quandaries will twist and turn as amateur sleuths seek to deduce the mystery alongside Poirot.
With performances running through February, the Chagrin Valley Little Theatre production aims to recapture the excitement felt by the Toronto audiences. It also emphasizes kindness to newcomers, offering discounted tickets for students, seniors, and active military personnel to encourage broader community engagement with the arts.
Christie’s legacy thrives as more productions emerge, showcasing unique perspectives on her beloved stories. Whether audiences find themselves aboard the enchanting train of the Orient with the characters written by Christie, they are bound to be whisked away on an engaging theatrical experience. By bringing crime and mystery to the forefront, these productions at both venues reaffirm the magnetic strength of theatrical storytelling.