Theatre Review : "Murder On The Orient Express" At Theatre Three

There’s Still Time to Catch Theatre Three’s Orient Express

By Cindi Sansone-Braff

Photos: Steve Ayle Showbizshots

Theatre Three’s “Murder on the Orient Express” is a wild ride filled with plenty of twists and turns, detours, and near derailments that leave the audience breathless, gasping and laughing, as they travel with a trainload of mysterious and memorable characters from Istanbul to Western Europe. When you see the mind-blowing luxury train set design by Randall Parsons, you know you’re in for the ride of your life. The fabulous period costumes by Ronald Green III, the characters speaking in various accents, and the realistic projections by Brian Staton were like a time machine that transported the audience back to the 1930s. The mood-inspiring lighting by Stacey Boggs created the illusion that the audience was watching a classic movie being filmed right before their eyes.

Michael Limone, Jeffrey Sanzel Ken Ludwig is a prolific playwright whose 34 plays and musicals are staged somewhere around the globe every night of the year. His sharp-witted stage adaptation of Agatha Christie’s classic novel “Murder on the Orient Express” has become the most produced comedy-mystery in the world. Theatre Three’s stellar production features the iconic Jeffrey Sanzel as Hercule Poirot, a role that seems to have been written for him. Poirot, the crackerjack detective, is one of Christie’s most beloved characters and appears in many of her works published between 1920 and 1975.

Under Christine Boehm’s outstanding direction, this high-paced whodunit kept the audience on the edge of their seats. This murder mystery takes place over 48 hours on the Orient Express, as Poirot, hot on the trail of clues and alibis, tries to figure out who murdered the ruthless American businessman Samuel Ratchett, brilliantly portrayed by Angelo DiBiase.

The play opens in a restaurant in Istanbul, complete with potted palm trees and a cocky Head Waiter played by the talented Richard O’Sullivan. This character’s witty dialogue, dripping with subtext, sets the tone for the rest of this clever production.

Murder On The Orient Express CastThere are plenty of colorful and intriguing suspects for Poirot to question, and Sanzel commanded the stage with his exacting body language and spot-on delivery of his many dramatic and comedic lines. Cassidy Rose O’Brien gave a noteworthy performance as the beautiful but nervous English Governess Mary Debenham. David Dimarzo was most convincing as the handsome, charismatic Colonel Arbuthnot, a Scotsman who is mad about Mary. Michael Limone aced the role of Monsieur Bouc, the director of the train company, who also happens to be an old friend of Poirot’s. Limone had explosively funny lines where the crowd’s laughter energized the show. His line, “The Yugoslavian police department? They are like the Three Stooges in the movie house. They poke each other in the eyes by accident,” still has me laughing.

Angelo DiBiase, Michelle LaBozzettaOf course, this is a luxury, long-distance train service that Monsieur Bouc calls “Poetry on Wheels,” so there would have to be some royalty aboard. Sheila Sheffield stole the show as the regal Russian Princess Dragomiroff, and Michelle LaBozzetta, as the Hungarian Countess Andrenyi, carried herself with grace and poise.

Steven Uihlein was believable as the uptight, nervous Hector MacQueen, an American personal secretary and translator. Linda May owned the audience as she gave an award-worthy performance as the flamboyant, loud-mouthed American Helen Hubbard, who isn’t all she appears to be. Samantha Fierro brought quiet reserve and dignity to her role as Greta Ohlsson, an unassuming Swedish nurse and missionary.

Zach Johnson, as the French Conductor Michel, gave a standout performance. At the end of the play, Johnson’s facial expressions reveal the depth of his character’s heartrending pain and angst.

“Murder on the Orient Express” has fleshed-out characters, a well-conceived plot set in an exotic locale, and well-crafted dialogue. However, the universal themes have made this story stand the test of time. This tale teaches us to trust our instincts, be keen observers of life, learn the difference between illusion and reality, and understand that our complex world isn’t a black-and-white place; therefore, the lines between good and evil get blurred. The most important lesson may be this: God sees to our intentions. If our intentions are good and the law is insufficient in doling out justice, then our actions are justified morally, even if they are not justified legally.

Visually stunning and powerfully provocative, Theatre Three’s “Murder on The Orient Express” must not be missed! The show runs through May 4, 2024. To purchase tickets or for additional information, please visit www.Theatrethree.com or call the Box Office at 631-928-9100.

Cindi Sansone-Braff is an award-winning playwright. She has a BFA in Theatre from UCONN and is a member of the Dramatists Guild. She is the author of “Grant Me a Higher Love,” “Why Good People Can’t Leave Bad Relationships,” and “Confessions of a Reluctant Long Island Psychic.” Her full-length Music Drama, “Beethoven, The Man, The Myth, The Music,” is published by Next Stage Press. www.Grantmeahigherlove.com.