Play Review: ‘Murder on the Orient Express’ at the Citadel Theatre

The Citadel Theatre has officially kicked off its 2026–27 season with a spirited production of Agatha Christie‘s Murder on the Orient Express. Directed by Kelly Thornton, the classic whodunnit moves at a breakneck pace, but manages to never leave the audience behind. The play follows the renowned detective Hercule Poirot, brought to life by a delightful Alex Poch-Goldin, as his relaxing trip upon the lavish Orient Express is interrupted by (surprise, surprise) a murder. Now, he must navigate the web of deception spun by the passengers on board in order to uncover the truth before they reach their destination.

Many theatre-goers, myself included, will probably go into the theatre already knowing most of, or at least the gist of, the Christie classic, but that doesn’t stop the production from fervently engaging its audience. This show knows exactly what it is, a quintessential murder mystery riddled with tropes, and it leans into itself beautifully. Nobody ever takes themselves too seriously, despite the severity of the murder at hand. The production loves to give the audience a knowing wink, acknowledging that they’re in on the joke as well. But it simultaneously avoids falling into total cornball slapstick and maintains its integrity as a mystery, mostly through the well-balanced performances of the ensemble.

It can be difficult to pull off a show that asks so much of every single cast member, but Murder on the Orient Express deftly navigates the pitfalls of an ensemble-heavy production. Poch-Goldin masterfully steers the ship (or train) as Poirot, hitting all the right comedic notes while maintaining the detective’s steady ambition and competence. His level-headedness is the linchpin that the zany cast of characters revolves around.

Other standouts include John Ullyatt as the frazzled owner of the express, Constantine Bouc, and Donna Fletcher as the loud-mouthed southern belle Helen Hubbard. Watching Ullyatt scurry around the stage as he attempted to maintain control of his train was a feast of physical comedy and ridiculous gestures, as his quick-tongued French accent pattered away a mile a minute. Fletcher’s portrayal of Hubbard could be a bit heavy-handed, but once we learn the motivations behind her actions, the reason for the melodramatics becomes clear. And I would be remiss if I didn’t commend Fletcher’s ability to command the stage, especially during a moving monologue.

While the performances were wonderful, by far the best part of this show was the set design. I don’t believe I’ve ever seen an audience applaud a set change before, but at Murder on the Orient Express, it happened twice. Brian Perchaluk, the set designer, was given the extremely difficult task of designing a show that takes place almost exclusively in the enclosed space of a train car, and putting it on stage. I cannot express enough how incredibly well he accomplished this task.

The rotating set allowed space for multiple, physical train cars to inhabit the stage, and the motion of rotation added to the illusion of a train speeding down the tracks. The interiors were plush and extravagant — the feeling of pure luxury dripped from the interior. The claustrophobia of being stuck in a narrow hallway with a dozen other people suspected of murder was perfectly executed as the cast rushed from hallway to hallway, constantly tripping over each other as they raced to solve the case.

Murder on the Orient Express is by no means a life-changing piece of theatre (except maybe if you’re an aspiring set designer), and that is okay. This production understands the value of pure, blockbuster entertainment. It wants you to grab a bucket of popcorn and simply let yourself be taken along for the ride. Escapism is the key, and the Orient Express is a door waiting to be opened.

Murder on the Orient Express runs at the Citadel Theatre until October 11.