Take a trip aboard Americana’s ‘Orient Express’

By Rich Fahey

PLYMOUTH – Sometimes – even when it comes to the work of Dame Agatha Christie, one of the greatest mystery writers of all time – less is more.

Her masterwork “Murder on the Orient Express” was not only a success in print, but it spawned two major motion pictures and a TV production. That meant most people were very familiar with the basic plot, but the piece was still a bit unwieldy for the stage.

Enter acclaimed playwright Ken Ludwig (“Lend Me a Tenor”). With the blessing of the Christie estate, his adaptation trimmed the list of suspects from 12 to 8, injected a few laughs and moved events ahead at a brisker pace.

The Americana Theatre Company has picked up Ludwig’s handiwork and run with it, and the result is a most entertaining “Murder on the Orient Express,” a mystery about murder most foul that also boasts a healthy helping of humor.

Ludwig’s streamlining allowed the piece to fit into intimate spaces such as Americana’s home in The Spire Center for the Performing Arts, where the production will hold forth until July 21.

It really doesn’t matter if you know from previous productions the plot. It revolves around the kidnapping and killing some years before of a child named Daisy Armstrong on Long Island and the fallout after the killer, who has changed his name to Samuel Ratchett to try and avoid capture, is found dead on the Orient Express.  It won’t stop you from appreciating the acting, stagecraft and theatrical wizardry that make this production compelling.

In 1934, famed detective Hercule Poirot meets an old friend named Monsieur Bouc in an Istanbul café and is invited to make his trip home on the famed Orient Express, even though it is inexplicably filled for an off-season journey.

Americana’s co-artistic director Jesse Sullivan is a fine Poirot, sporting an impeccable Belgian (not French!)  accent and the requisite iconic moustache. Sullivan’s Poirot is good and he knows it. He is understated but in firm control as he grills the assorted suspects, but also not above giving more than a passing glance to Countess Andrenyi, (Payton Gobeille) a mysterious, comely physician who is traveling alone.

Americana mainstay David Friday delivers pure comic gold as Monsieur Bouc, the beleaguered head of the train company that operates the Orient Express who knows murder is bad for business. Watch his expressions as events unfold, and he tries to keep his guests happy after a heavy snowfall stops the train in the mountains, the murder is discovered and Poirot interrupts his trip home to London to begin his investigation  at Bouc’s request. Poirot knows the killer is on board and he is eager to find the culprit before the train begins to move again and the killer escapes.

Theater people are true problem solvers. Americana’s co-artistic director, Derek Grant Martin, designed the ingenious fold-in, fold-out railroad car that is at the heart of the piece. When his original design would not fit on the Spire’s stage, he double-hinged it.

The entire cast is front and center when it comes to scene changes, creating their own choreography as each plays a role in keeping the changes as short as possible, allowing Director April Poland to set a brisk pace and keep the audience thoroughly engaged.

The humor comes both from Ludwig’s wit and Director Poland’s decision to let the assorted suspects explore the outer edges of their characters; Martin took time out from designing the set to play Colonel Arbuthnot, a fiery Scottish soldier who has an undefined relationship with a fragile woman named Mary Debenham (Aubrey Elson).

There are a number of other fine supporting turns. Nick Hancock is Samuel  Ratchett, the closeted child killer who seeks Poirot’s help in finding out who is threatening him before meeting his end.

Stephanie Wells is the man-eating American widow Helen Hubbard, on the hunt for yet another husband while shielding a secret. Her battle royal of words with the elegant Russian royal Erin Friday as Princess Dragimiroff is a highlight as the princess royally, systematically slices and dices the brassy woman.

The princess is accompanied by a Swede named Greta Ohlsson (Abby Kramer) who has done extensive work as a missionary. Wade Dunham’s Hector McQueen was a secretary and friend to Ratchett.

The cast also includes Zachary Cherry as the efficient and amiable conductor Michel, Brendan Hone as the Head Waiter, Macie Armstrong as the ill-fated Daisy Armstrong, and Cherry and Kramer in dual roles as Daisy’s parents.

The ending is sublime, and even someone such as Poirot who has seen it all will be forced to admit that he was shaken and that it was a case that would haunt him for the rest of his days.

Americana’s summer residence in downtown Plymouth is an event many look forward to and the company’s journey on the Orient Express offers great value for the entertainment dollar.

The Americana Theatre Company’s production of “Murder on the Orient Express.” By Agatha Christie, adapted for the stage by Ken Ludwig. Directed by April Poland. Producing director: Kelly Ann Dunn. Technical director: Derek G. Martin. Production stage manager: Jenny Da Silva. Assistant stage managers: Brendan Hone, Ariana Barbosa, Derek G. Martin. Set designer: Derek G. Martin. Set builders: Derek G. Martin, Eli Grover. Wardrobe: Payton Gobeile. Costumer: Rosalie Martin. Lighting designer: Heather M. Crocker. Sund designer/Op: Jonathan Scott, Dramatic Sounds. At the Spire Center for the Arts through July 21. Americanatheatre.org.