Review: Murder on the Orient Express by Zach Theatre
by Hannah Neuhauser

Join Steven Pounders as Hercule Poirot and his infamous mustache - seen from any seat! – as he recalls a murder case and a difficult ethical decision upon the luxurious steam train the Orient Express. No more serious spoilers from me – if you know, you know, whether from Kevin Branaugh's 2017 film or the twelve other productions across Central Texas since 2019.

 

Just go see the show! You don’t need my seal of approval – it's Zach Theatre. Their productions are top quality, and you probably have a season ticket lined up for next week anyhow. Rather than convince you to change your mind, I'm going to validate your decision and see if I can  persuade you to see it twice. 

 

If for no other reason, go for the set. This train is GORGEOUS! Painted in stunning midnight blue, the sapphire steam engine is the crown jewel of the production. This work by Paul Tate Depoo III is a masterpiece in set design, absolutely drool worthy. If it were possible for Zach to offer actual tickets for this train, I would have bought one without any hesitation. The historic Orient Express was a glamorous way of travel and Depoo’s 360 design immerses the cast in a captivating claustrophobic cubicle entirely worthy of Agatha Christie. From the observation deck to the dining cart to the sleeping rooms, this train is first class. Its piercing whistle shot chills down my spine, and I openly gaped at its every move. At times, I paid more attention to the extraordinary detail of the train than I did to the performers.

 

Such a glorious centerpiece demands high performances equal to its glory. Otherwise the actors are overshadowed, in fact dimmed out by the shimmering staging.

 

 

Out of all the performances I would say the least gripping was that of Scott Shipman as Samuel Rachett. Spoiler alert: That's just because Rachett dies and essentially becomes a prop through in the first act. Rachett is not missed or regretted, and I think that supports the story. Shipman is much more memorable as the compassionate Colonel. Pounder as debonair Poirot glides through each scene, alert to social boundaries I could learn from. André Martin’s Monsieur Bouc echoes Pepe Le Pui, and I adored every minute he was on stage. The other murder suspects are equally entertaining. Abigail Storm as the meek, naïve Greta expresses herself with hilarious physicality and  Sarita Ocón’s Princess Dragomiroff executed a dignity on par with that of Angela Lansbury.  

 

One actor in particular chewed the scenery with unsatiable relish. Olivia D. Dolson as Mrs. Hubbard was a delight to watch and a fabulous singer to boot! Her every line was comedy gold. I wasn't expecting a musical number (much less two!) in a murder mystery, but by gum, I found myself wanting more. Dolson's vocal delivery was rich and boisterous, signaling to every audience member she was the actor having the most fun. 

 

And that is what Murder on the Orient Express is – fun. My only gripe is that I wished they'd leaned even more into the fun to heighten the dramatic contrast of the outcome. 

 

Murder on the Orient Express walks a difficult line. The death on the train occurred due to the earlier murder of five-year-old Daisy Armstrong. A grayscale video preceding the action depicts Daisy Armstrong’s demise. Gregg Coffin’s ominous score sets the tone as perverse tragedy, and Poirot enters the stage, weary and wistful, to unfold the colorful tale. The play is performed essentially as a comedy. The pacing is quickfiring quip after quip, making the audience dizzy from laughter and confusion. Until the play’s final moments when Poirot, solo, directly addresses the audience. 

 

I was strongly reminded of the 1985 film Clue. All I was missing were the stinger cords! Musical cues pushed the elements of camp further into the comedic folds. Strategically enhancing these elements would not only support the dynamic performances but also would strike as a gut punch when the audience is silently reminded their laughter was prompted by a family tragedy. Like Poirot, we were dared to ask  . . . was it worth it? Did we do the right thing?

 

Agatha Cristie’s tantalizing mystery will be playing at Zach Theatre’s mainstage until March 1. The show runs around 3 hours, including a 20-minute intermission.

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Murder on the Orient Express
by Agatha Christie
Zach Theatre

January 21–March 1, 2026

The Topfer at Zach | 202 S Lamar Blvd. | Austin, TX | 78704
Tickets  start at $28 and are available at Zach’s box office – 512-476-0541 x1, zachtheater.org.

Special events in celebration of Murder on the Orient Express:

• Pay What You Wish Week – Wednesday, January 21 through Sunday, January 25, 2026
• Pride Night – Thursday, January 22, 2026 at 7:30pm
• Zachademia Night – Wednesday, January 28, 2026 at 7:30pm
• Champagne Opening – Thursday, January 29, 2026 at 7:30pm
• ASL Performance – Saturday, February 7, 2026 at 2:30pm

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