You won’t see a more elaborate, multi-faceted, multi-media period staged design with breathtaking technical effects than in Asolo Rep’s production of Murder on the Orient Express. No, not even on Broadway. Luckily, everything—even costumes and hair styles—services a well directed and acted dramatic comedy, here rising above a passing adaptation of the celebrated mystery novel. As uncannily astute mystery solver Hercule Poirot, James DeVita scores. He also gives you a narrative framework for murder and pursuit of the murderer. The action begins in the Istanbul station of the fully booked Orient Express, where owner M. Bouc makes room for the detective. David Breitbarth, 24th season Asolo Rep vet, characterizes Bouc as a true friend and anxious but able executive in another novel performance. Among the showier of the passengers are Matt Caro’s effective big, bossy, gangster-like Samuel Ratchett, Peggy Roeder’s deposed anti-Bolshevik but still aristocratic Princess Dragomiroff, and Tina Stafford’s great over-the-top Actress, ready for yet another marriage prospect. Alex Pelletier as Greta Ohlsson is just as fanatic but about showing her religion. No one models clothes better than pretty Diana Coates’s somewhat puzzling (though no mental slouch) Countess Andreyni. You’ll wonder about the romantic intentions of Jonathan Grunert’s volatile Scotsman, Colonel Arbuthnut, toward Helen Too Lee’s governess-like interest (as Mary Debenham) in children. Youthful tolerance marks Grant Chapman’s depiction of Ratchett’s secretary Hector MacQueen. Exuding experience, on the other hand, Gregg Weiner portrays wary Michel the Conductor. FSU/Asolo Conservatory students Carla Corvo as Miss Westmacoff, Joe Ferrarelli as Head Waiter Marcel, Michael Judah as Jacques, and Brian Ritchie as Mr. Mallowan do well in supporting roles. Cora Messer will touch your heart as child victim Daisy Armstrong. At the heart of the mystery, she’s always poised. She’s a memorable sight onstage as DeVita’s Poirot reaches his narrative moral ending. Just as adaptor and director (the latter with characteristic humor) bring all actors and plot together, so the production designers bring every facet of the Orient Express journey into play. The train in Istanbul station moves into a revolving three interiors—a row of sleepers, a dining car, and a parlor. All are elaborately, artistically constructed and true to 1934 styles, as are the distinctive costumes. Sound encompasses both original music including jazz to Charleston and background sounds of railroad travel and outside weather. The snowstorm that stops the train so the murder must be solved inside with dispatch is projected above the train, whereas all the forward movements of the train are shown there on moving film. Even the stage curtain is used for projections and to separate parts of the dramatic presentation. Lighting wonderfully adapts to every scene and circumstance. You should find the production Asolo Rep has created to usher in 2020 not only artistically satisfying but also a fun experience.
