Review in Woodstock: ‘Murder on the Orient Express’ simply first-class

Playwright Ken Ludwig is notoriously brilliant for his well-crafted adaptations of classics; this time it’s Dame Agatha Christie’s “Murder on the Orient Express.” And Theater 121′s production, as directed by Angie Kells, is a first-class ride out of the station.

Ludwig was approached by the Christie estate, specifically requested by her grandson Mathew Prichard, to gauge his interest in adapting one of her novels. Ludwig was given free rein in his choice, and selected one of her most enduring and famous novels, “Murder on the Orient Express.” However, to make it more manageable onstage, he reduced the number of suspects to eight; Christie had 12. Ludwig also expanded the characters’ comedic potential – one of his special trademarks.

Director Kells and her collaborative staff of 15 have produced a successful ensemble dramedy clocking in at two hours. Beginning with a short film by Joel Bennett (starring the adorable CC Kunash), the audience is immediately captured, and the stage is set. Stage manager Thomas Neumann and crew masterfully keep the production running smoothly; Neumann has an experienced and deft command.

Scenic designer and master carpenter Jason Clark’s set demonstrates a creative and inventive use of physical space – not easy to do on the Woodstock Opera House’s small stage. With platforms, plush red velvet and simple pieces used to suggest the lavish world of the Orient Express (particularly the three train compartments), there is consistent balance and movement that draws in the audience. And in her usual trademark excellence, Kat Bruhnke outfits the cast in elegant 1930s attire; this cast wears their costumes well.

As for the familiar plot: the world’s greatest detective, Hercule Poirot, is on vacation when he’s urgently called back to London by Scotland Yard. Monsieur Bouc, Poirot’s close friend and owner of the transcontinental Orient Express, has his travel solution – welcoming him on board to join some very colorful passengers. But one turns up dead – stabbed eight times – and everyone has an alibi. To complicate the crime, the train has become snowbound in Eastern Europe. Whodunit? Hercule Poirot has too many clues and he is not happy.

I love a show where the ensemble is cast correctly. Kells has done that memorably. Not only do these actors look their parts, they are highly credible in their roles. Maybe even relatable.

It may be hard to erase David Suchet’s and even Kenneth Branagh’s portrayals of that heralded Belgian detective, but Frank Gaughan is a superb Hercule Poirot. Every eccentric nuance is there; Gaughan is ingenious in his precise, persnickety, quirky and intelligent characterization. He also gives this Poirot some charm and rascality in his contemplation of an affair with the countess on board. Gaughan’s delivery of Poirot’s moral code and defense in the closing scene is particularly effective, painful and thought-provoking.

Gaughan also has a strong chemistry with fellow performer Joel Bennett, who is an exuberant Monsieur Bouc. Providing much of the comic relief, Bennett maintains a spot-on consistent accent and physicality of expression. He also gets to deliver the best descriptive definition of Poirot: “You listen, you look, you pester, you become the pain in the butt.” Gaughan and Bennett are superb actors – together and alone.

Alison Hage’s Helen Hubbard is a definite scene-stealer. Hage is brilliant as the meddling, much married, over-bearing American tourist – or is she? She may be annoying to the other characters, but you just love her time onstage. Hage quite delightfully also gets to sing and do a little dancing, as well.

But that’s not to say these are the only impressively strong performers. Chris Griffin is Michel, the French train conductor. His portrayal shows a competent character who is efficient, organized, kind and upstanding – quite the dependable employee.

Kylee Jones is Greta, she of the magnificent scream and Swedish accent. She portrays her missionary character with deep devotion and trembling fearfulness.

Brian Fleming’s Hector shows a marvelous transition from the nerdy, eager, innocent secretary to an angry young man.

And Marissa Snook is the beautiful Countess Andrenyi, the doctor turned noblewoman. Snook gives us a taste of glamour, aristocracy and intelligence to match wits with Gaughan’s Poirot.

The other ensemble members are just as commendable and intriguing: Justin Charles (head waiter/radio voice), Lorrie Ferguson (Princess Dragomiroff), Gary Mackowiak (Ratchett), Rachel Nedza (Mary Debenham), Anthony Walker (Col. Arbuthnot) and Jake Seelye (soldier). The film cast includes Kelsey Waughon (Nanny), Laura Laudick (Mother), Scott Laudick (Father) and Cannon “CC” Kunash (Daisy Armstrong).

Ken Ludwig, legendary master of the stage farce, and Agatha Christie, the legendary Queen of Crime, provide a perfectly obvious, makes-sense ending, but one that will make you question justice and truth while on that ride home. Theater 121′s exciting production of “Murder on the Orient Express” is definitely on the right track, but it’s a short run (only through April 23), so get your tickets before this train leaves the station.

• Regina Belt-Daniels has long been an Agatha Christie and Ken Ludwig fan; she’s directed five of Ludwig’s plays, and has read almost every one of Christie’s novels. Recipient of the Chicago Travolta Heartstrings Award and nominee for the BroadwayWorld Regional Best Director award, she can be found happily onstage, backstage, writing theater reviews somewhere or traveling with her husband.

IF YOU GO

WHAT: “Murder on the Orient Express” by Theatre 121

WHERE: Woodstock Opera House, 121 Van Buren St., Woodstock

WHEN: Through April 23

COST: $26 for adults, $24 for seniors and students

INFORMATION: 815-338-5300, tickets@woodstockil.gov, theatre121.org