UGA Theatre presents “Agatha Christie’s Murder on the Orient Express.” In Tony-nominated playwright Ken Ludwig’s stage adaptation of Agatha Christie’s influential novel, the narrative of the novel is tightened, maintaining its original glamour and intrigue while infusing the drama with a wry sense of humor as the mystery unfolds.
Performances will be held in the Fine Arts Theatre at 255 Baldwin St. on April 10-12, 16-19 at 8 p.m. and April 13 at 2 p.m. Performances held on April 18 and 19 will feature American Sign Language interpretation for deaf and hard of hearing audience members. Tickets are $18, $6 for UGA students and can be reserved at www.ugatheatre.com/orientexpress, phone at 706-542-4400 or in person at the Performing Arts Center or Tate Center box office.
The play depicts Belgian detective Hercule Poirot — arguably Christie’s most iconic character — as he races to unmask a murderer aboard an opulent passenger train while en route to London. Thrust into action, Poirot must interview subjects, secure alibis and unravel the sordid circumstances of the victim’s demise, culminating in a shocking conclusion that has withstood the test of time since the novel’s publication in 1934.
Featured in 33 novels, 51 short stories and two stage plays, the character of Hercule Poirot has maintained relevance since his introduction in 1920, appearing in a wide variety of media including television, film, radio plays and video games. Most recently, Poirot was revitalized for modern audiences in Kenneth Branagh’s film adaptations, which began with an updated version of “Murder on the Orient Express” in 2017. For director Daniel B. Ellis, the key to the timelessness of Christie’s work lies in her interrogation of age-old questions of justice and morality.
“The play revolves around justice and the elasticity of its definitions,” said Ellis. “Sometimes justice is simply the letter of the law and sometimes it’s dictated by conscience rather than the courts. How the characters — specifically Poirot — interpret justice elevates the story from a simple mystery to a deep exploration of ethics, duty and human nature.”
Ken Ludwig’s adaptation functions as a memory play, conveying the entirety of the story from Poirot’s perspective. For Ellis and his designers, this facet of the script offered a creative opportunity to address the challenges associated with producing a period accurate show. “What the audience sees is what Poirot remembers in his retelling,” said Cody Russell, third-year MFA scenic designer. “Deciding which elements would stand out to Poirot — whether it’s the opulence of the train or the vibrance of the outfits — was an exhilarating challenge for the designers.” However, telling the story from the perspective of a fastidious, keen-eared detective presented a different kind of challenge for the cast.
“The novel and script place a huge emphasis on the different backgrounds and nationalities of the characters,” said Raife Baker, dialect coach and assistant professor. “So it’s not just a matter of actors doing an accent, it’s essential to the aims of the narrative that their voices be representative of their various countries of origin.”
“‘Murder on the Orient Express’ has truly been an all-hands-on-deck kind of production,” said Julie Ray, department of theatre and film studies head. “Every area of our department — from scenery to costumes to media to sound — is working tirelessly to offer an unforgettable experience for our audiences that reflects the scope of Christie’s iconic story.”
For more information, visit www.ugatheatre.com/orientexpress or call the Performing Arts Center Box Office at (706) 542-4400.
