Travel Can Be Murder with Agatha Christie’s Murder on the Orient Express at Everyman Theatre

By Jason Crawford Samios-Uy

Approx. Running time: 2 hours and 20 minutes with one intermission

Murder mysteries pop up daily in hamlets all over the world in community theatres, church theatres, and small theatres and audiences can’t seem to get enough of them. It’s always pleasant to see when a professional theatre takes on the challenge of a classic and well-known piece and adds the polish it deserves. Everyman Theatre has done just this with their latest offering of Agatha Christie’s Murder on the Orient Express, Adapted by Ken Ludwig, and Directed by Vincent M. Lancisi.

For those who may not know, Agatha Christie’s Murder on the Orient Express concerns itself with a murder, of course, of an American tycoon and nine potential suspects on a luxury train with the world-famous Detective Hercule Poirot, who is on this particular passage by chance, to solve the case before the murderer can strike again.

Bruce Randolph Nelson (Detective Poirot), Danny Gavigan (Samuel Rachett), Deborah Hazlett (Helen Hubbard). Photo: Teresa Castracane Photography

The technical aspect of this production is a tour-de-force for Everyman Theatre. Now, I have yet to be disappointed by any Set Design from this company and Daniel Ettinger always impresses, but this design is A+ top notch. Transforming from a small, elegant café to the Orient Express itself with sliding walls and set pieces takes this production to the hilt of good design. The art deco detail is remarkable, and the dark color scheme adds to the tension and mood of the entire piece. Ettinger is to be commended for his brilliant efforts for this production. In the same vein, Sound Design and Original Music by Pornchanok Kanchanabanca is just as inspiring, transporting the audience into the story with a period score and sound effects that blend in and enhance the production rather then take away from it. Kudos to Kanchanabanca, as well, for an exquisite design and score.

Period pieces are a challenge in themselves, but costuming a period piece takes a champ and Costume Design by David Burdick with Wig Design by Anne Nesmith is not only stunning but authentic, placing these actors in the time accurately and with exquisite detail. Hats off to Burdick and Nesmith for their superb designs.

The Cast of Agatha Christie’s Murder on the Orient Express. Photo: Teresa Castracane Photography

Vincent M. Lancisi, Founder and Artistic Director, takes the helm of this piece and he knocks it out of the park with a well-staged production that has great pacing, and a clear understanding of the material. Scene transitions are smooth (with help from Daniel Ettinger’s Set Design), and the character work is excellent. Agatha Christie’s work is, of course, well-known but this title is definitely one of her most well-known works but Lancisi has stepped up to the challenge and presents this story in a tight, polished production that makes for a thrilling night of theatre.

Moving on to the performance aspect of this piece Danny Gavigan gives a marvelous performance as Colonel Arbuthnot while doubling as Samuel Ratchett, though the contrast in appearance was nothing more than a wig and clothes, but still enough to be believable and he has a good grasp of both characters. He has a good chemistry with Hannah Kelly as Mary Debenham, and Kelly gives a charming, strong performance as a young woman who is both independent and wants to love and be loved at the same time. Kudos to both Gavigan and Kelly for solid, confident performances.

Taking on the role of the young, beautiful, and confident Countess Andrenyi is Lilian Oben. Though Oben’s delivery is a bit off, due to a curious accent she’s attempting, her character work is splendid and she seems to have a tight grasp on her character making for a robust and enjoyable performance, overall.

Bruce Randolph Nelson (Detective Poirot), Lilian Oben (Countess Andrenyi), Jefferson A. Russell (Monsieur Bouc). Photo: Teresa Castracane Photography

Not all characters are guests on the Orient Express and taking on the roles of Monsieur Bouc, a type of executive for the company that owns the train is Jefferson A. Russell while M. Scott McLean takes on the role of Michel, the conductor, and doubling as the humorous Head Waiter. Both Russell and McLean have a comedic responsibility in this production and both pull it off beautifully with flawless timing and delivery. Even in the intense bits of this story, Russell manages to bring levity with his character and it’s worth mentioning the small, but hilarious run McLean has as the Head Waiter in the beginning of the story in which he embodies this snooty character who gets his comeuppance in the end.

Helen Hedman (Princess Dragomiroff), Beth Hylton (Greta Ohlsson). Photo: Teresa Castracane Photography

Helen Hedman as Princess Dragomiroff, a set-in-her-ways curmudgeon Russian Princess who gives Poirot the run-around, and Beth Hylton as Greta Ohlsson, a delicate, but steadfast woman who isn’t really cut out for murder, or seems not to be anyway, have a good rapport and work well off of and with each other. Hedman takes on this role with gusto and embodies this character giving her just the right amount of slyness and secretiveness that is required while Hylton does not disappoint with her portrayal of Greta. Hylton has a good comprehension of this complex character and plays her with a fine balance of sensitivity and boldness that makes her interesting. Hedman and Hylton are to be commended for their efforts in their performances.

Highlights in this particular production are Tony Nam as Hector MacQueen, the personal secretary and Guy Friday of Rachett, and Deborah Hazlett as Helen Hubbard, an obnoxious, rambunctious American on holiday. Nam knows his character and plays him with purpose and confidence giving a sensational performance and blending an air of self-assuredness and delicacy in his character. Hazlett, too, knows her character through and through and plays her brilliantly with a sass and slight darkness that is absolutely appropriate. Hazlett is a calculated whirlwind portrayal and gives a top-notch performance. Both give strong, confident, and authentic performances making them the highlights of this production.

Bruce Randolph Nelson as Hercule Poirot. Photo: Teresa Castracane Photography

The standout in this production is, hands-down, Bruce Randolph Nelson as Hercule Poirot. Detective Poirot is the pivotal character in this piece and Nelson knows him inside and out. With the perfect balance of drama and comedy, Nelson makes Poirot, a quite fussy man, likeable and engaging at once. He plays the character with a no-nonsense but compassionate attitude that shines through in his stage movement and his delivery, of which he has a deep understanding. Nelson’s performance is not one you want to miss this season. Kudos to him for a job quite well done.

Final thought… Agatha Christie’s Murder on the Orient Express is a classic Agatha Christie story that will hold up through the ages. Murder and mystery are two topics that we, as humans, are fascinated by, whether we like to admit it or not. If it weren’t the O.J. Simpson case wouldn’t have gotten ten minutes of air time! But Agatha Christie has this genre down to a science and Ken Ludwig’s adaptation doesn’t stray to far from it making for successful material. The performances were strong, the staging was smooth and engaging, and, overall, it’s a polished, well put-together production. Technically, this production takes the cake and Set Design is top notch, worth the price of admission. This is a great addition to Everyman’s season and it’ll be a mystery to me if you don’t get your tickets ASAP.

Agatha Christie’s Murder on the Orient Express will play through January 11 at Everyman Theatre315 W Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

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Review: Everything is Wonderful at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermissions

Different cultures have different ways of dealing with tragedy. Most will encourage looking to your faith to find a higher meaning than what we mere mortals can imagine. Some encourage forgiveness to those who have wronged you and, some go even further to encourage forgive and forget. How do you forgive and forget someone who has taken the lives of your loved ones, accident or not? Everyman Theatre’s latest production, Everything is Wonderful by Chelsea Marcantel, Directed by Noah Himmelstein, tries to answer this tough question as we see tragedy and loss through from the viewpoints of a family in crisis, a young man full of guilt, and a man who believes he’s near perfect because he’s practically been told so his whole life.

Bruce Randolph Nelson, Deborah Hazlett. Credit: ClintonBPhotography

In a nutshell, Everything is Wonderful concerns itself with an Amish family who lost two sons when a drunk driver smashed into their buggy, a daughter who doesn’t seem cut out for the Amish life, and a culture that forgives and forgets, but only on the surface. Ultimately, I gathered this piece is about following your own conscience to find forgiveness, regardless of what those around you may think or do.

Marcantel’s text is easy to follow and presents these complex problems in simple terms which is why I believe this script is so successful. The dialogue is natural and it flows as conversation between folks should. She has a good comprehension of the subject matter and creates a world into which we can step and be a part of the story making for an enjoyable evening of theatre.

L-R: Steve Polites, Bruce Randolph Nelson*, Tony Nam, Alex Spieth, Deborah Hazlett. Credit: ClintonBPhotography

The story that Chelsea Marcantel weaves is flawless and Noah Himmelstein has given us simple, yet engaging presentation with the help Daniel Ettinger’s exquisite Set Design. Himmelstein and Ettinger use the space well and the action moves at a great pace working in tandem with a precise and effective Lighting Design by Cory Pattak that puts us in each appropriate location without a bunch of bells and whistles. Sometimes less is more and it is absolutely true for this production and both Ettinger and Pattak knock it out of the ballpark.

L-R: Alex Spieth, Bruce Randolph Nelson, Tony Nam, Deborah Hazlett, Hannah Kelly. Credit: ClintonBPhotography

Himmelstein has a tight grasp on this material and his staging is immaculate. He keeps the audience interested in the story by using practically the entire theatre with the correct entrance and exit points while keeping a good flow without a lot of clunky scene changes, which is what I’ve come to love about theatre these days… not a lot of, if any, blackouts, unless they are absolutely appropriate. It’s the details that make this production so successful, as well. For instance, the slight accent of the Amish characters is so authentic, both Himmelstein and the performers are to be applauded for their efforts. Overall, Himmelstein hit the nail on the head with this and should be commended for his work.

Bruce Randolph Nelson, Deborah Hazlett. Credit: ClintonBPhotography

The cast is simply amazing, and I mean every single one of them. Resident Company member Bruce Randolph Nelson portrays Jacob, the patriarch of the Amish family and, he completely embodies this character taking on all of his trials and troubles. He seems comfortable in this role and his performance is strong and confident making him a standout in this piece in both his authenticity with the role and his gentle handling of the character. Along with Nelson, another Resident Company member, Deborah Hazlett shines as Esther, the matriarch, and the mixed, bottled up emotions just spill out of her throughout this production. She has a deep understanding of this character and her portrayal of her, as a grieving, staunch mother is impeccable. Both Nelson and Hazlett, through their performances, bring home the message of forgiveness in their portrayals of these two characters, and not just surface forgiveness, but true and deep forgiveness, even in the hardest of situations.

Tony Nam, Alex Spieth. Credit: ClintonBPhotography

Two highlights in this production are Alex Spieth, who tackles the role of Miri, a former Amish girl and estranged daughter to Jacob and Esther, and Tony Nam, who takes on the role of Eric, the driver of the car that hit the buggy, taking the lives of Jacob and Esther’s sons. Both Spieth and Nam are able actors who have a good comprehension of their characters and portray them naturally in both delivery of the dialogue and in manner. Eric wants to get in and Miri has gotten out, and is fine with her choices and the conflict between these two characters is beautifully presented by Speith and Nam and both give strong, confident, and poignant performances.

Steve Polite and Hannah Kelly. Credit: ClintonBPhotography

Rounding out the small ensemble, the adorable Hannah Kelly takes on the role of Ruth, the good daughter, who is content with her Amish life and wants to be a good person and is a good person, and the dashing Steve Polites, tackles the role of Abram, the tall, handsome, boy next door who seems to be the apple of the community’s eye, but has a secret dark side. Kelly undoubtedly knows her character inside and out and her portrayal is authentic, and, because of her portrayal, you can’t help but like this character from the get. She invokes a gentleness that’s believable and gives a tender performance that is required of this young girl. Polites has a strong command of the stage (it doesn’t hurt that he’s a little over 6’ in height, or so it seems) and his voice is smooth and booming, which works very nicely with this character. He takes this character and makes it his own, walking the line between the perfect son and the devil among us, making for an intriguing and exciting performance.

Final thought…  Everything is Wonderful at Everyman Theatre is a poignant, thoughtful piece that makes us look into our own selves and question what we would do in a certain situation. From Set Design to Costumes Design to performance, this production is not one you want to miss this season. There’s not one performer who can’t hold his or her own and the material is through provoking with dashes of humor that take the audience on a roller coaster of all the feels. It enlightens us about a culture that is seemingly veiled in plain sight and puts us all on a level playing field. If you don’t have your tickets already, get them now. I reiterate… you do not want to miss this one.

This is what I thought of Everyman Theatre’s Everything is Wonderful… What did you think? Please feel free to leave a comment!

Everything is Wonderful will play through February 24 at Everyman Theatre, 315 W Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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Review: The Book of Joseph at Everyman Theatre

By Jason Crawford Samios-Uy

Running Time: Approx. 2 hours and 15 minutes with one intermission

(l-r) Megan Anderson, Helen Hedman, Beth Hylton, and Bari Hochwald. Credit: ClintonBPhotography

There are secrets in every family whether close or estranged. There are untold stories and questions we may have about or family we just let go of because we either don’t want to know or we don’t know where to find the information and with the current rage of DNA testing and ancestry more and more folks are finding answers to the questions they have about their own families. Everyman Theatre’s latest offering, The Book of Joseph by Karen Hartman is Directed by Noah Himmelstein and is based on the book The Life of Joseph A. Hollander and His Family by Richard Hollander. It is a journey of discovery of a man who was a father, son, brother, uncle, and husband who kept his past in letters and documents that tell an

The Cast of The Book of Joseph. Credit: ClintonBPhotography

extraordinary story of the bonds of family and an unconditional love.

In a nutshell, The Book of Joseph concerns itself with the story of Joseph Hollander, a Polish immigrant who happens to be Jewish, and his correspondence with the family he left behind during World War II, as the Nazi Party took over most of Europe. The story is told by his son, Richard, as he discusses the book he wrote about these correspondences he discovered after the death of Joseph. The thing is, it took years for Richard to read these correspondences because of the fear he had of what he might find out about his family after noticing the Nazi emblems on the letters in his father’s briefcase. Richard had managed to tell the story with kid gloves, glazing over the horrible parts and concentrating on the good parts, while possibly adding a bit of his own optimism. However, Richard’s son, Craig, is determined to get the truth about what happened, even if it means facing a darkness that has been hidden within the family.

Daniel Ettinger’s Set Design is, once again, impeccable, and helps move the story along nicely allowing for easy exits and entrances with thoughtful use of projections and dark colors to express the poignancy of the story. The turntable that takes the audience from one setting to the next is clever and makes for smooth transitions between scenes. Ettinger has created yet another successful design.

(l-r) Wil Love, Beth Hylton, Hannah Kelly, Danny Gavigan, and Bari Hochwald. Credit: ClintonBPhotography

Working in tandem with the Set Design, the Sound Design by Elisheba Ittoop and Lighting Design by Cory Pattak is superb and sets the mood of not only entire production but each scene as well. Pattak uses rays of isolated light and subtle dimming of light to represent the dreariness and uncertainty in the story as well as brightening to express the more uplifting points. Working with the lighting Ittoop’s sound design blends perfectly into the production and may not be noticeable until she wants you to notice it which makes for an intelligent design. Her original compositions are faintly heard in the background during certain scenes, but are fitting and well-thought out. Together, these aspects of light and sound do not hinder the production and performances but enhance and help them along.

David Burdick rarely disappoints and his Costume Design for this production is no different. His attention to detail is immaculate and, being a period piece that requires a specific style, Burdick’s design is spot on. His choice of wardrobe for each character gives them an individuality and the modern and bygone era styles are presented flawlessly and transitions smoothly from one scene to the next. Kudos to Burdick for his work on this production.

Noah Himmelstein takes the helm of this superb production and presents the story clearly with a focused vision. It’s obvious he has a great comprehension of the text, the characters represented, and the message of the story. Himmelstein has amassed a balanced, well-rounded cast with a chemistry that is second to none and his staging is engaging, making for spot on pacing that is just about perfect. Himmelstein should be applauded for his impeccable work on this production.

Danny Gavigan as Joseph (foreground) and Cast. Credit: ClintonBPhotography

Commenting on the performance aspect of this production, it’s worth mentioning that, according to this story, the Hollander family is a family driven by strong women, with Joseph being the only male amongst supportive females. Hellen Hedman as Berta, the matriarch of the Hollander family, plays her character as a woman who has an unencumbered faith in family and puts on a show of strength for her daughters and only son. Hedman is comfortable with her role and plays it with confidence.

In the same vein, Bari Hochwald plays Mania, the eldest sister, and she plays it in a way that makes this character relatable to anyone who has an older sister, like myself. She seems to portray this character as an obligated caretaker, as many eldest children feel, having a nice blend of being both strict and stern as well as compassionate for her family. The match with Everyman Theatre Resident Company member Wil Love as Salo, her husband, is brilliant and Love’s portrayal of a loving and supportive husband with a gentle demeanor is believable and charming.

Bruce Randolph Nelson. Credit: ClintonBPhotography

Beth Hylton, an Everyman Theatre Resident Company member takes on the role of Klara, Joseph’s next eldest sister who seems to be a tough cookie, as well as Felicja Hollander, the first wife of Joseph. Playing these two vastly different characters is a representation of Hylton’s impressive skills as she plays Klara with a rough-around-the-edges but soft on the inside kind of sister and mother who manages to get along no matter what life throws at her and the snooty, uptight Felicja. Kudos to Beth Hylton on a remarkable performance. Along with Hylton’s Klara, Hanna Kelly tackles the role of Genka and the gender-bending role of Boy Arnold. Much like Hylton, Kelly’s portrayal of these roles is a natural and believable switching flawlessly between the anxious and nervous young immigrant, Boy

Arnold, and the young, optimistic, and hopeful Genka.

Megan Anderson and David Gavigan. Credit: ClintonBPhotography

Two highlights in this production are Everyman Theatre Resident Company members Megan Anderson and Daid Gavigan. Anderson takes the roles of Dola, Joseph’s sister to whom he seems to be closest, and Vita, Joseph’s second wife and lifelong love, and Gavigan takes on the titular role of Joseph, the man who kept correspondence with his family and tried to help them immigrate to the United States for as long as he possibly could. Anderson brings her usual energy and confidence to her roles that make her a joy to watch and she has a tight grasp on her strong, independent characters making for a remarkable performance. Gavigan, too, understands the nuances of his character, a conflicted and worried young man who is desperate to help his family. He has a good presence and is confident in this role and it makes for a fantastic performance that is the backbone of this production.

Bruce Randolph Nelson as Richard and Elliott Kashner as Craig. Credit: ClintonBPhotography

Rounding out the cast are two more highlights – Elliott Kashner as Elliott, Joseph’s grandson, and Everyman Theatre Resident Company member Bruce Randolph Nelson as Richard, Joseph’s son. Both these actors bring the modern into this production amidst the flashbacks and memories and they do it seamlessly and they both have a deep comprehension of their characters and the text. Nelson brings a certain levity to this poignant piece that fits in perfectly without making a mockery of the story and his rollercoaster of emotions is clear making for an authentic performance that is a delight to experience. Kashner, who enters later in the piece, is absolutely believable with a great mix of flippancy that makes you want to smack him, a yearning to know his own history, and a compassion for his father. He has a confident presence on stage and it makes for an admirable performance, overall.

Final thought… The Book of Joseph is a poignant, heart-wrenching look into the life of one family during the turbulent and uncertain times during WWII. The story is well framed and structured even though it hops through time, it’s easy to follow in the way the script is laid out. It’s a story that incorporates hope, regret, love of family, survival, and moving on under extreme circumstances. It also has a certain amount of levity mixed in with the tragedy that gives the audience emotional peaks and valleys that make for great theatre. It reminds us of the untold stories of war and strife that don’t come to light until years later when those involved are long gone and we only have letters and documents to put the pieces of the past puzzle together. The performances are extraordinary and the script is well put-together making for a thoughtful and entertaining production as a whole. Once again, Everyman has not disappointed and you don’t want to miss this final production of the 2017-18 season.

This is what I thought of Everyman Theatre’s production of The Book of Joseph… What did you think? Please feel free to leave a comment!

 The Book of Joseph will play through June 10 at Everyman Theatre315 W. Fayette Street, Baltimore, MD. For tickets, call the box office at 410-752-2208 or you can purchase them online.

Email us at backstagebaltimore@gmail.com

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