It doesn’t take Hercule Poirot to deduce that Palomar Performing Arts’ “Murder on the Orient Express” is a hit, and the only crime would be missing out on the ride.
From the moment the lights dimmed, the audience was all aboard for a fast-paced, finely tuned performance. Even as someone new to the mystery, I could tell I was in for a thrilling time. The production delivers a captivating mix of suspense and humor that keeps the audience guessing as the cast brings to life Agatha Christie’s classic whodunit with stellar performances, clever staging, and striking design.
Based on Ken Ludwig’s popular stage adaptation, the story unfolds in 1934 aboard a luxury train stalled by winter weather, where a murder forces the meticulous Belgian detective Hercule Poirot to unmask a killer among a carriage full of vividly drawn suspects.
Director Michael Mufson keeps the tone lively while honoring the story’s moral weight, steadily building tension and cultivating mystery. In his program notes, he describes this adaptation as a blend of Christie’s character and suspense with Ludwig’s dialogue-driven urgency and humor, a balance the production hits with confidence. I appreciated how the pacing never sagged, even in dialogue-heavy moments.
At the heart of the cast is Spencer Rogow as Hercule Poirot, capturing the detective’s quirks, wit, intellect, and signature mustache to perfection. Rogow’s intonation and accent make him a standout in a cast full of strong performances; he fully embodies the fastidious Belgian sleuth, commanding every scene with precision.
The ensemble works together with remarkable chemistry to bring the story to life as a cohesive unit with no weak links. Autumn Lowe shines as Minnesotan Helen Hubbard — with her expressive mannerisms and strong vocals — while Sean Zukowski’s portrayal of Monsieur Bouc added both humor and heart with nervous charm. Their energy and timing gives the performance a lively rhythm that keeps the audiences fully invested through every twist and turn.
Across the company, accents are clear and consistent without feeling exaggerated or out of place, a credit to the cast’s work with dedicated dialect coach, Li-anne Rowswell. Overall, I found the commitment to the performance, even during intermission, admirable.
Beyond the actors, the set design pushes the boundaries of the stage while distinguishing between locations with ease. Clever mobile pieces allow the production to evoke the opulent halls and compact cabins of a first-class railcar effectively and elegantly. Every detail suggests a bygone era, from the warm wood and brass touches to the shape of the lights along the stage front.
Costumes match that attention to detail, with period-appropriate looks that enhance character and hint at backstories. Subtle choices in fabric, fit, and accessories help each figure read instantly and distinctly — Hubbard’s bold patterns, Bouc’s tidy lines, Poirot’s puffed polish.
Layer in subtle train sounds and the faint crackle of music on a record player, and the world snaps into focus: 1930s Europe, a snowbound train, and a car full of suspects.
Palomar Performing Arts’ “Murder on the Orient Express” is a stylish, confidently acted ride that balances laughs with lingering questions about law, justice, and conscience, exactly the blend Mufson highlights in his notes.
For lovers of a classic whodunit it’s a must see. New to Christie like me? You’ll be hanging off every clue, while devotees will appreciate the details. Loved “Knives Out”? This is the theater production for you. Anyone looking for an evening of smart suspense and first-rate craft, consider this case closed.
Performances of “Murder on the Orient Express” run Oct. 3–12 at the Howard Brubeck Theatre. For tickets and details, visit the Palomar Performing Arts website.
