Notice: There is no need for a spoiler alert in this article. Details and solutions to the murder mystery are meant for the consuming audience.
Yes, there are many twists and turns in this production of ‘Murder on the Orient Express’ from Hamilton’s Aquarius Theatre. Written a decade ago by Ken Ludwig as a stage adaptation of Agatha Christie’s eminent novel, it is a staple of Aquarius’s 25 – 26 season, directed by award-winning Canadian playwright and director Morris Panych.
Despite a diverse and talented cast along with a host of brilliant designers, the highlight and heart of this production is Brandon Kleiman and his team’s creation of the brimming central train car.
It has a persona, almost a character in itself – it moves boldly and sets the tone for a number of critical scenes. In Ludwig’s text, he describes in simple terms some of the elegance of the train. But Kleiman ratches it up so the train car absolutely gleams. Dark wood panelling is set off with royal blue highlights – brilliant brass hardware accents the sumptuous curtains.
On a circular stage, the car swings smoothly to create various angles, suggesting the dining car or travel compartments – with the back of the car pointing straight out, it creates a strong stage for various soliloquys – like a Lincoln-style whistlestop.
But yes, there are actors. Daniel Kash rises to the occasion with a signature turn as the incomparable Hercule Poirot. Some Belgian accents are subtly different from French accents, and Kash’s work is brilliant. The accent is natural and consistent. For the most part, Poirot is formal – Kash’s arms hang straight down, or hands are intertwined. His face is often severe. But there are moments when Poirot tries to relax – stretching out on a simple wooden chair or twisting his moustache with his fingers.
The story begins with Poirot on holiday in Europe when he receives a telegram that sends him rushing back to London. His friend Bouc finds him a room on the elegant Orient Express, and together they leave only to have the train mired in snow in the middle of nowhere.
The cast is rounded out with a variety of colourful characters from around the globe. The menacing character, Sam Ratchett, is found stabbed to death in his compartment, and Poirot’s work begins. He discovers clues, consults with colleagues and interviews passengers. The penultimate scene is the resolution of the crime, which raises a number of moral and ethical issues.
The brassy American Helen Hubbard is played with panache by Nora McLellan. She creates a comical Ethel Merman persona along with some leaky Broadway high notes.
Ludwig’s dialogue and Morris Panych’s direction create a crisp pace. Some stage mysteries are overwrought by lengthy speeches of explanation, but not the case here. Tension is broken by frequent comic moments – a reference to a meerschaum pipe exposes a reference to the wrong famous detective.
Kleiman doubles as the costume designer, and his period piece work was stunning. Two extravagant travelling hats worn by the princess and the countess set the regal tone.
Ranil Sonnadara, as sound designer, and Mikael Kangas, as lighting designer, created the train motif central to the production. Bursts of light pass by as the sound faintly reflects the roar of the engine and the clatter of the wheels.
As mentioned, this stylish and well-paced performance is rooted in the set itself. As described by Monsieur Bouc himself, the train is ‘poetry on wheels.’ That poetry translates to all aspects of Theatre Aquarius’s fine production.
‘Murder on the Orient Express’ by Ken Ludwig
Performers: Mark Crawford, Steven Gallagher, Martin Happer, Daniel Kash, Nora McLellan Kristen Peace, Pamela Mala Sinha, Birgitte Solem, Brendan Wall, Kiana Woo.
Director: Morris Panych
Set and Costume designer: Brandon Kleiman
Sound designer: Ranil Sonnadara
Lighting designer: Mikael Kangas
Stage manager: Beatrice Campbell
Production runs through: March 29, 2026.
Tickets: theatreaquarius.org
