UGA Theatre showcases “Agatha Christie’s Murder on the Orient Express.” In Tony-nominated playwright Ken Ludwig’s theatrical adaptation of Agatha Christie’s seminal novel, the plot of the story is streamlined, preserving its original allure and suspense while adding a touch of witty humor as the enigma unfolds.
Performances will take place at the Fine Arts Theatre located at 255 Baldwin St. on April 10-12, 16-19 at 8 p.m. and on April 13 at 2 p.m. The shows on April 18 and 19 will include American Sign Language interpretation for patrons who are deaf or hard of hearing. Tickets are priced at $18, with $6 for UGA students, and can be booked at www.ugatheatre.com/orientexpress, by calling 706-542-4400, or in person at the Performing Arts Center or Tate Center box office.
The narrative features Belgian detective Hercule Poirot — arguably Christie’s most legendary character — as he strives to uncover a killer aboard a luxurious train traveling to London. Drawn into the fray, Poirot must interrogate witnesses, verify alibis, and untangle the murky details of the victim’s death, leading to a startling conclusion that has remained compelling since the novel was first published in 1934.
Hercule Poirot, appearing in 33 novels, 51 short stories, and two stage productions, has retained his significance since his debut in 1920, appearing across various media including television, movies, radio dramas, and video games. Recently, Poirot was reimagined for contemporary audiences in Kenneth Branagh’s film adaptations, starting with a modern take on “Murder on the Orient Express” in 2017. According to director Daniel B. Ellis, the timeless nature of Christie’s work is rooted in her examination of enduring questions regarding justice and morality.
“The play centers on justice and the flexibility of its interpretations,” Ellis stated. “At times, justice equates to the strict enforcement of law, while at other times it is dictated by personal morality rather than legal systems. How the characters — particularly Poirot — perceive justice transforms the tale from a mere mystery into a profound investigation of ethics, obligation, and human nature.”
Ken Ludwig’s adaptation works as a reminiscence play, narrating the entire tale from Poirot’s viewpoint. This aspect of the script provided Ellis and his team with a creative avenue to tackle the complexities of staging a historically accurate production. “What the audience perceives is determined by what Poirot recollects in his narrative,” remarked Cody Russell, a third-year MFA scenic designer. “Choosing which aspects would be prominent to Poirot — whether showcasing the train’s splendor or the vibrancy of the costumes — presented an exciting challenge for the designers.” However, portraying the story from the viewpoint of a meticulous, perceptive detective posed a unique challenge for the cast.
“The book and script place tremendous importance on the diverse backgrounds and nationalities of the characters,” explained Raife Baker, dialect coach and assistant professor. “Thus, it’s not merely about the actors adopting an accent; it’s crucial for the narrative’s objectives that their voices genuinely reflect their respective countries of origin.”
“‘Murder on the Orient Express’ has indeed been a comprehensive collaborative effort,” shared Julie Ray, head of the department of theatre and film studies. “Every sector of our department — from set design to costumes to media to sound — is diligently working to provide our audiences with an extraordinary experience that encapsulates the breadth of Christie’s legendary tale.”
For further details, visit www.ugatheatre.com/orientexpress or contact the Performing Arts Center Box Office at (706) 542-4400.
The post UGA Theatre concludes season with ‘Murder on the Orient Express’ was first published on UGA Today.