There are few things in theater as satisfying as a good mystery. It’s in the way that the actors can navigate the stage, leading everyone through a series of clues and misdirects all designed to keep one on the edge of their seats. In the 20th century, few authors mastered this level of suspense quite like Agatha Christie. One of her most popular novels, “Murder on the Orient Express,” was quite practically adapted into a drama that captures everything that’s brilliant about her writing. It can be found in the way characters interact, where eccentric personalities collide while hiding deathly serious secrets. As an experience, The Long Beach Playhouse’s take on the story is an entertaining romp that never lets up and makes for a delightful evening out.
At the center of this mystery is detective extraordinaire Hercule Poirot (Eric Schiffer). Among Christie’s band of colorful characters, he’s the one that stands above the rest thanks to his cunning skills of observation. A seemingly mundane scene can be uprooted by his presence. In the opening scene, a group of travelers gathers at a café. They start mostly as strangers, but by the end everything that needs to be known is clear. Poirot listens to a man extend him an offer for a case while suggesting he’s on vacation. But alas, this is Christie writing this so of course, it cannot be that simple.
With a small stage surrounded on three sides by the audience, the train comes to life in small but practical ways. A backdrop displays imagery from the train. Behind it is a group of sleeping cards that hide certain nefarious details. Out front are two rows of seats, all designed like small intimate dining centers. The characters come and go at times with indulgent aplomb. Even then, their brief time on the stage allows for rich character development cribbed inside larger than life personalities. Given that everyone is from Eastern Europe, the accents are thick and the costumes are lavish. Everyone thinks highly of themselves, and it leads to plenty of fun off the cuff jabs that undermine fellow passengers.
Everyone is paranoid of each other and owner Monsieur Bouc (Lee Samuel Tanng) is afraid of The Orient Express losing its prestige. Everyone has something to lose as the story goes on, and it leads to some clever diversions. Like the best of Christie, there are moments that immediately sound contradictory but aren’t. There are others that may sound like lies but are worded just so and reveal the truth hiding in plain sight. For those going in blind, it’s an engrossing experience with easily identifiable characters. Each of the 11 actors does an excellent job of standing out, allowing for moments of suspense and comedy to emerge from the confined spaces.
As one can guess, Act II is even stronger than Act I. It’s in part because Poirot gets to work his magic as an investigator but also because it’s where the complicated web is spun. Often facing only one or two other actors, Schiffer plays Poirot with charisma. He knows how to lean into a situation, observing stray details in suitcases and on tables that help him expand his case. Things that would otherwise go unnoticed don’t escape him and it’s the most entertaining part of the show. As he throws the pieces together, there is a satisfaction forming, but the answer as to whether it’s the right answer will be left for the individual viewer.
Even then, the final stretch of the play does an impressive job of recapping every detail. As the answers become more apparent, each actor stands to face the audience. With the lights low, they recap the plot in a manner that illuminates details hidden in plain sight. Spliced in-between Poirot’s final monologue, these asides create powerful drama and allow for one last chance for the audience to have that doubt. It’s masterfully done and creates an ending that is equal parts discovery as it is a complicated yet enticing philosophical debate.
Like the best of Christie, Murder on the Orient Express is much more than the individual twists. It’s about the journey to that conclusion and creating a deeper connection to characters who could be innocent or guilty as sin. The morality becomes difficult as the story goes on, finding deflection and misdirection playing in everyone’s favor. The Long Beach Playhouse does an excellent job of making every part of their small stage feel useful. Over the course of two hours, they have created an entertaining night out and one that keeps the audience guessing. It’s entertaining, suspenseful, and everything one could hope for from a title like that.
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