By Liz Eichler
I’ve read and seen many Agatha Christie adaptations over the years—including Murder on the Orient Express—but I intentionally avoided revisiting the plot in advance so I could experience Miami University Theatre’s production with fresh eyes. I’m glad I did. Their staging of Murder on the Orient Express, which ran this past week, surprised and delighted me with its craftsmanship, energy, and attention to detail.
Plot of Murder on the Orient Express
The story follows the esteemed detective Hercule Poirot, who is vacationing in Istanbul when he’s abruptly summoned back to London. He boards the famed Orient Express for a swift return home, only to have his journey interrupted by a shocking murder. As the snowbound train grinds to a halt, Poirot interviews a colorful assortment of passengers, each harboring secrets, until the final reveal.
A Beautiful Production
First, kudos to the technical team. The scenic design by Gion DeFrancesco (assisted by Isaiah Serra), lighting by Sarah Finke and Marly Wooster, sound by Caitlin McWethy, and costuming by Lisa Martin-Stuart form some of the most polished production values I’ve seen at Miami. The technical program there appears to attract great talent. The train car set transports us to 1934 with its Art Deco motifs, beautifully rendered woodgrain textures, and historically accurate posters surrounding the proscenium. Even an audience member who had traveled in the region remarked on the authenticity of the details—from the names of the hotels plastered on the proscenium to the authentic newspaper prop.
Solid Direction and Stage Management
Under the direction of Bekka Eaton, the show flows smoothly. Eaton integrates clever touches throughout, including synchronized jolts from the ensemble whenever the train “moves,” helping the audience feel the locomotive’s rhythm and momentum. Lighting reinforces this illusion effectively, and an atmospheric cloud of fog evokes the steam engine preparing for departure. With so many cues to hit, stage managers Abby Doane and Aisling Morse (assisted by Siena Jackson and Caelyn Tisinger) deserve praise for their precision.
The costumes are rich, tailored, and beautifully period-appropriate—those luxurious traveling furs and coats make one long for an era when rail travel was truly glamorous. They stand in humorous contrast to the Uggs and sweatpants one sees at today’s airport gates.
Strong Performers
Performances across the cast are solid. Max Kaufman delivers an engaging and steady Poirot. He does a great job balancing the accent with articulation, and adds humor, especially through timing his pauses. His friend, Monsieur Bouc (Preston Angus) brings charm and comic warmth, especially in moments when he loses his composure—a clear audience favorite. I also admired the stage presence of Landon Bowling as the waiter (there are no small parts!) and Dylan Marshall as Mrs. Hubbard, both of whom grounded their characters skillfully. Marshall moves very well, taking us through the Charleston and more, and has a great sense of comedic timing. As his first on stage role, from the audience reaction, we’d like to see more. Sophie Wertz (Greta Ohlsson) offered strong listening and reactive work, a joy to watch.
Exciting to Watch College Performers Add to their Skill Sets
This is a training program—as well as a home for theatre lovers who will go on to succeed in a wide range of fields. Growth is expected here, and it’s genuinely exciting to watch that development unfold. Stage presence, projection, and confident movement are all highly desirable skills for performers, but they’re also transferable to countless professions.
Four years ago, for example, I first noticed Max Kaufman in Angel’s Trumpet and was impressed by the talent he brought to the stage as a freshman. Now, as a senior, he has grown into a passionate, intelligent performer. I wish him well in his future—whether he’s performing onstage or leading a classroom or office with that same presence.
Some student performers are still strengthening their projection; others are refining challenges like walking in heels. That’s exactly what a training environment is for, and it’s gratifying to see each student build confidence and skill from production to production.
Quick Mention of Front of House
Lastly, a shout-out to the front-of-house staff. The ushers, box office team, and House Manager were professional and welcoming, with clear name tags and crisp operations. Miami is even experimenting with offering refreshments—water and ice-cream cups—which proved popular.
Next Up
Murder on the Orient Express ran through November 23. Next up at Miami University Theatre are:
- By the Way, Meet Vera Stark by Lynn Nottage (March 11–15, 2026)
- Into the Woods by Stephen Sondheim and James Lapine (May 1–7, 2026)
Get your tickets early through the Box Office at THIS LINK.
