Tag Archives: Ken Ludwig

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The Blood in the Blizzard

An unsavory businessman is found murdered in his locked sleeper car on the Orient Express.  Who killed him?  Was it the obnoxious, man-hungry American?  Perhaps it was the pious missionary?  Could it be the Russian princess?  Match wits with Hercule Poirot and see if you can figure out who done it when you watch Murder On the Orient Express at Theatre Lawrence.

One thing I’ve discovered as a regional writer is that a certain show or two get hot every single season and hit the schedules of many theatres.  The last year or so, this show has been a sizzling property.  So much so that this marks my fourth review of it.  That being said, Theatre Lawrence’s version has been my personal favorite as all of the right elements came together to forge an incredibly intense and gripping night of theatre.

I was hooked on Jessica Franz-Martin’s direction from the very first voiceover.  Franz-Martin sets the mood for this tragic mystery with an ethereal voiceover held over the projection of a gently falling snow and it’s off to the races from there.  Not only does she lead her actors to pristine performances, but her staging is off the charts as she knows just how and when to bring in the technical elements to enhance the storytelling which will keep you on the edge of your seat until the final revelation.

As for the cast. . .well, there isn’t a weak link in the lot.  Under Franz-Martin’s skillful guidance, they work like an Olympic caliber relay team as they effortlessly pass the verbal baton back and forth between each other.  Don Hires is the model of efficiency as the conductor, Michel.  Kelli Szrot will have you grinding your teeth as the irritating Helen Hubbard who never knows when to shut her yap.  Richard J. Burt is ebullient and high-strung as Monsieur Bouc, the manager of the company that owns the Orient Express.  Erica Baruth’s tongue cracks like a whip as the blunt and direct Princess Dragomiroff.  Laura Burt strikes just the right note of piety as the missionary, Greta Ohlsson.  Malachi Swedberg is loyal, if put upon, as Hector Macqueen, the secretary to the murder victim.  Emma Webster’s physicality shows she’s hiding a secret as the former governess, Mary Debenham.

 I was quite impressed by the versatility of Dan Heinz who plays the dual roles of Colonel Arbuthnot and Samuel Ratchett.  As Ratchett (the murder victim), he comes off like a Neanderthal with his brutish temperament, his slumped shoulders, and mobster voice.  As Arbuthnot, he is every bit the honorable soldier with his ramrod posture and his strong, but firm voice that rings with the right level of authority which would make you follow and respect him.

Abby Ilardi Lowry has a very compelling performance as Countess Andrenyi.  Lowry brings a deep intelligence to the character who is more than capable of matching wits with the genius of Hercule Poirot.  I especially liked her banter with Poirot which strongly hinted that in another time and place, there might have been something more between them.  Lowry has a real gift for nimble wordplay with her dialogue during the corpse examination scene being a shining example.

In the midst of all the murder and mystery stands Hercule Poirot, incredibly essayed by Michael Juncker.  Juncker beautifully underplays the role and just exudes a sense of mastery and control.  His deductions are always spontaneous and extemporaneous, but what I truly enjoyed was the weightiness he brought to the role.  Poirot begins this mystery with a burdened conscience as his most recent case had tragic results.  This burden is always lurking in the background until his solution in this case forces him to face the reality that the law and justice may not always be one and the same.  Juncker shines with Poirot’s final decision in this moment and its aftermath.

I was blown away by James Diemer’s set.  It’s so functional as it changes from the walls and windows of a luxury hotel to the entrance to the Orient Express before splitting open to reveal a revolving set that smoothly rotates to show the conductor’s office, the sleeper car (wood outlines imply doors and walls), and the dining car (the snow frosted windows were a brilliant touch).  Diemer’s lights enhance the mood with the blood red of the murder scene and the almost sepia toned spotlights on the suspects during the denouement being especially nice flourishes.  Bob Newton’s sounds are a work of art that boost every moment whether it’s the jarring stop of the Express hitting a mountain of snow, to the old-time song playing from a radio, to my favorite moment, the metallic slashing of a knife in the murder scene.  Jane Penington’s costumes are period accurate with Michel’s tunic, Dragomiroff’s regal garb, and Poirot’s sedate suit being particular standouts.

If you’re looking for a stellar night of mystery and intrigue, this is it.  Taut with tension, rife with intrigue, and murderously mesmerizing.  Murder On the Orient Express is a puzzling night of entertainment that will have you biting your nails and keep your attention from the first snowflake to the final somber note.

Murder On the Orient Express runs at Theatre Lawrence through March 12.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.  Tickets are $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com.  Theatre Lawrence is located at 4660 Bauer Farm Dr in Lawrence, KS.

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‘Murder On the Orient Express’ is Making a Stop at Theatre Lawrence

Lawrence, KS–Just after midnight, a snowdrift stops the Orient Express. By morning the luxurious train is one passenger fewer. An American tycoon lies dead in his compartment, stabbed eight times, his door locked from the inside. Isolated and with a killer in their midst, the passengers rely on detective Hercule Poirot to identify the murderer – in case he or she decides to strike again.

A stunning night of murder, mystery, and intrigue is in store for you when one of the finest whodunnits ever written is brought to life in front of your eyes. Written by the legendary Agatha Christie and adapted for stage by the inestimable Ken Ludwig, Murder On the Orient Express promises to be as puzzling as it is entertaining. Tickets are available now at Theatre Lawrence for $30 and can be purchased by calling 785-843-SHOW, visiting the Box Office, or visiting wp.theatrelawrence.com. The show runs from Mar 3-12. Showtimes are Thurs-Sat at 7:30pm and Sundays at 2:30pm.

Murder On the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Venue: Theatre Lawrence (4660 Bauer Farm Dr, Lawrence, KS 66049)

Directed by: Jessica Franz-Martin

Cast

Hercule Poirot…..Michael Juncker

Monsieur Bouc…..Richard Burt

Hector Macqueen…..Malachi Swedberg

Colonel Arbuthnot/Samuel Ratchett…..Dan Heinz

Michel the Conductor/Head Waiter…..Don Hires

Mary Debenham…..Emma Webster

Princess Dragomiroff…..Erica Baruth

Greta Ohlsson…..Laura Burt

Countess Andrenyi…..Abby Ilardi Lowry

Helen Hubbard…..Kelli Szrot

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The Essence of Justice

The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)

While riding the Orient Express, famed Belgian detective Hercule Poirot finds himself investigating the locked room murder of an unsavory businessman. Will Poirot’s little gray cells penetrate the smoke and mirrors or has he finally been outwitted by a murderer who always seems to be one step ahead?  Find out by watching Murder On the Orient Express at Community Players.

This is actually my third time reviewing a production of this show and, as always, I’m not going to get into the plot outside of my opening paragraph as I want the audience to be able to enjoy the mystery to its fullest.  As I’ve noted in other reviews, Ken Ludwig not only adheres very closely to Agatha Christie’s novel, but he also plays the show pretty seriously and eschews his normal style of broad farce though his knack for humorous wordplay is still very much present.

Rachele Stoops surprised me by approaching the show from a very comedic angle.  Where the humor was natural and organic, it was a dead center bullseye.  The landing and feel of some of the other jokes is going to rely on one’s familiarity with the show or story.  If you’re a newbie, you’re likely to laugh uproariously.  If you’re super familiar with the story, some of the jokes might feel a little forced.

That being said, the quality of Stoops’ direction is very good indeed.  I really liked the staging of the production as it felt small and confined which really upped the sense of danger as one quickly realizes the killer is among the passengers on the train.  Pacing was incredibly brisk though some quicker cue pickups and closing spaces around words would enhance it even further.  Stoops has guided her thespians to well defined performances as each has developed a fully three dimensional person.

This is truly an ensemble play as each character plays a vital role and some strong performances came from Mark Geist as the hot tempered and protective Col. Arbuthnot.  Dylan Warren has a nice everyman quality as the put upon secretary of the murder victim.  Vicki Cain shows some versatility as the head waiter at a hotel restaurant and the efficient conductor of the Orient Express.

Zoe Tien brought an angle to Helen Hubbard that I’ve never seen before and, by golly, I loved it.  Not only was she perfectly obnoxious as the man hungry, childish American, but she was a moron.  Clearly this was a woman who just doesn’t get it and her obliviousness and pettiness made for some of the show’s best moments.  Of particularly fine vintage were her tap routine to irritate her mean-spirited train neighbor and her constant sniping with Princess Dragomiroff.

Diane Kahnk is deliciously droll as Princess Dragomiroff.  If you look up unflappable in the dictionary, you’re going to find Dragomiroff’s picture.  Nothing seems to faze her and she can more than hold her own with the formidable Poirot.  Kahnk’s bon mots are always on the mark and you can almost see the lightning bolts fly between her and Tien’s Hubbard during their arguments.

Scott Clark is a most effective Hercule Poirot.  Clark not only brings Poirot’s intelligence to the role, but he also brings his sense of mastery.  He is always in control of every situation and I liked the comfort he found in the law for, in his mind, justice and the law were always one and the same.  This makes his inner turmoil all the more intense when, for the first time, he is faced with a situation where justice and the law are on opposite sides of the line.  Scott foreshadows this struggle beautifully at the top of the show with a reference to a recently solved case and you can see that weighing on his mind when he is faced with the human factor of this denouement.

I was extraordinarily impressed with Jamie Ulmer’s set design.  He has an amazing sense of proportion as he was able to make the Orient Express feel like a behemoth in the small confines of the theatre.  He skillfully blends three sleeper rooms with the dining car and the design allows the actors to all be present and seen without feeling bunched up or blocking and upstaging each other.  His lighting is also excellent especially with the use of the spotlight on Poirot to bookend the start and finish of the play and his use of light and dark to get the audience looking in the wrong direction like a magician performing sleight of hand.  Ashley Hothan, Morgan Fox, and Diane Kahnk have well costumed the cast with period accurate clothing that suits the personality of the characters from Poirot’s elegant and perfectly measured suit to the royal dress of the proud Dragomiroff.  Jamie Ulmer, Brandon Clark, Doug Stokebrand, and Brielle Toland team up for some spot on sounds from the gentle chugging of the Express to this eerie siren sound that would blast at key moments of the case.

All in all, this is a very worthy show and the size of the audience and their proportional enjoyment have me convinced that Community Players has a definite hit on their hands.

Murder On the Orient Express plays at Community Players through Feb 19.  Showtimes are Fri-Sat at 7:30pm and Sundays at 2pm.  Tickets cost $20.43 and can be purchased at www.beatricecommunityplayers.com.  Community Players is located at 412 Ella St in Beatrice, NE.

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Community Players to Present ‘Murder On the Orient Express’

The ensemble of “Murder On the Orient Express” (L to R Back Row: Merle Jobman, Jenny Sutphin, Mark Geist, Dylan Warren, Morgan Fox, Ashley Hothan, Vicki Cain. L to R Front Row: Diane Kahnk, Zoe Tien, Scott Clark.)

Community Players Proudly Present:

Murder on the Orient Express
Adapted by Ken Ludwig from a novel by Agatha Christie

Directed by: Rachele Stoops

Venue: Community Players (412 Ella St, Beatrice, NE)
Show Dates: Feb 10-19, 2023
Showtimes: Fri-Sat at 7:30pm. Sundays at 2pm

Synopsis
On the snowbound Orient Express, an American tycoon lies dead in his locked train compartment. With a killer in their midst, detective Hercule Poirot must expose the murderer before tragedy strikes again! Thrills and laughs abound in Ken Ludwig’s adaptation of this classic mystery by Agatha Christie.

Tickets go on sale Jan 30, 2023 and can be purchased at www.beatricecommunityplayers.com.

Cast
Scott Clark as Hercule Poirot
Merle Jobman as Monsieur Bouc
Morgan Fox as Megan Debenham
Mark Geist as Col. Arbuthnot/Samuel Ratchett
Ashley Hothan as Greta Ohlsson
Diane Kahnk as Princess Dragomiroff
Jenny Sutphin as Countess A’ndrenyi
Zoe Tien as Helen Hubbard
Vicki Cain as Michele
Dylan Warren as MacQueen

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Ozark Actors Theatre Announces 2023 Auditions

Ozark Actors Theatre Announces Auditions for 2023 Season

In-Person Auditions – February 18th:

Auditions will be held by appointment on Saturday, February 18 at The Cedar Street Playhouse, home of Ozark Actors Theatre. 701 N. Cedar St., Rolla, MO 65401

To schedule an audition time, please follow this link.

Video Recorded Auditions – due February 15th:

Video auditions must be sent to casting@ozarkactorstheatre.org and received by February 15th.

What to prepare:

For your in-person or video recorded audition, please prepare a monologue and short song selection that show off your vocal range and storytelling abilities – no more than 2 mins long. Material from the season is acceptable and encouraged.

​Ozark Actors Theatre and Actors Equity Association’s contracts prohibit discrimination. AEA is committed to diversity and encourages all its employers to engage in a policies of equal employment opportunity designed to promote a positive model of inclusion. As such, AEA and OAT encourage performers of all ethnicities, gender identities, and ages, as well as performers with disabilities, to submit auditions.

​Questions or accommodations:

Please contact casting@ozarkactorstheatre.org

Play Summaries & Character Descriptions

A Gentleman’s Guide to Love and Murder

Rehearsal: May 30 – June 14

Performance: June 15 – 25

Director: TBD

Music Director: TBD

Choreographer: TBD

Summary:

A GENTLEMAN’S GUIDE TO LOVE AND MURDER won 4 Tony Awards, 7 Drama Desk Awards, AND it was nominated for a Grammy! This production is a hilarious farce following a young man’s luck at the prospect of inheriting a fortune, but he has 9 relatives ahead of him in the inheritance. This production will give one actor the opportunity to die 90 times on the OAT stage in this incredible comedy!

Character descriptions:

  • The D’Ysquith Family -The principal conceit of Gentleman’s Guide is that one actor plays all members of the D’Ysquith family. As such the actor portraying the D’Ysquiths must have a tremendous and transformational acting ability. Actor should have strong physical comedic skills and accent ability to help establish and differentiate multiple characters. Must have stamina to carry the different characters throughout the show and make extraordinarily quick costume changes.
    • Age: 30s to 50s
  • Monty Navarro – charismatic and cunning enough to ingratiate himself with both the audience and his prospective victims. He is a leading man, and often, the straight man, in the show. Monty should also have excellent physical comedy skills to adequately play along with the D’Ysquiths in their various incarnations. Charming and handsome, Monty is not upper class but has no trouble blending in with high society.
    • Gender: Male identifying
    • Age: 20s to 30s
  • Sibella Hallward – A beautiful and flirtatious social climber, Sibella has true affection for Monty but also true affection for social status. Sibella is smart, funny and stylish and, as far as relationships are concerned, she wants to have her cake and eat it too.
    • Gender: Female identifying
    • Age: 20s to 30s
  • Phoebe D’Ysquith – Monty’s cousin. Phoebe was raised high class with idealistic fantasies of love. As beautiful as Sibella, Phoebe foils Sibella in her interest in love over status, and a desire to find the true virtue in people. Though she is smart and earnest, she can also be naive. Must be an excellent singer with a legit, possibly operatic sound. A true soprano.
    • Gender: Female identifying
    • Age: 20s to 30s
  • Miss Shingle – Monty’s unexpected visitor. Sneaky and mysterious, Miss Shingle has an obvious sense of justice. She comes to tell Monty the secret of his D’Ysquith lineage with a pivotal song in Act 1 that sets up the story of the show. Actress should be a supreme and interesting character actress with a vocal style to match.
    • Gender: Female identifying
    • Age: 40s to 60s
  • The Ensemble – A group of strong and dynamic musical theatre performers who all play multiple featured roles. These actors will play 40+ roles including: Lady Eugenia, Miss Barley, Tom Copley, Detective Pinckney, The Magistrate, various clerks, newsboys, ancestors, maids, actors and many others. All Ensemble members are expected to be comfortable with some movement. Expected to work with the directing team to create dynamic characters.
    • Age: 16 to 99
    • Ensemble Vocal Ranges:
      • Soprano (coloratura) Ab4 Bb6
      • Mezzo Bb4 G5
      • Alto Gb3 Gb5
      • Tenor Ab3 B5
      • Baritone Ab3 G#4
      • Bass C2 G#4

Sunday in the Park with George

Rehearsals: June 19 – July 5

Performances: July 6 – 16

Director: Blane Pressler

Music Director: TBD

Summary:

SUNDAY IN THE PARK WITH GEORGE follows the story of the famous pointillist painter Georges Seurat. A fictional retelling of the painter and his immersive existence in creating a masterpiece. One of only 8 musicals ever to have won the Pulitzer Prize for drama. It was also nominated for 10 Tony awards and has had two major Broadway revivals. At OAT it will be under the direction of Artistic Director, Blane Pressler.

Character descriptions:

  • George – In Act 1: George Seurat, a rather cold artist obsessed with his work at the cost of his personal life. Constantly troubled and borderline obsessive. Act 2: Seurat’s burnt-out descendant and inventor-sculpture searching for his purpose.
    • Gender: Male identifying
    • Age: 25 to 40
  • Dot/Marie – As Dot, George’s headstrong mistress and occasional model so discontent with their relationship that she eventually leaves him. Age: 20 to 40. As Marie, George’s elderly wheelchair bound grandmother who helps him connect to his artistry through her grammar book notes.
    • Gender: Female identifying
  • Old Lady – George’s mother. A cranky and rather demanding fixture in the park. She is able to find solace in nostalgia and inspires George to find order in his art. Doubling as BLAIR DANIELS.
    • Gender: Female identifying
    • Age: 60 to 80
  • Nurse – The Old Lady’s attendant. She is calming and assertive. Doublings include HARRIET PAWLING and MRS.
    • Gender: Female identifying
    • Age: 40 to 60
  • Jules – A rival artist. Callous, critical, and ultimately shallow. He forces Frieda to engage in extramarital affairs. Doubling as BOB GREENBERG.
    • Gender: Male identifying
    • Age: 25 to 45
  • Yvonne – Jules’ pampered wife. She is as snippy and snooty as her husband. Doubling as NAOMI EISEN.
    • Gender: Female identifying
    • Age: 25 to 35
  • Boatman – A surly, blue-collared laborer, simple-minded and slovenly. Doubling as CHARLES REDMOND.
    • Gender: Male identifying
    • Age: 35 to 60
  • Celeste #1 – A young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Optional Doubling as A WAITRESS.
    • Gender: Female identifying
    • Age: 18 to 30
  • Celeste #2 – Another young shop girl, gossipy and flirtatious. Her friendship with the other Celeste is strained when they fight over the Soldier and his companion. Doubling as ELAINE.
    • Gender: Female identifying
    • Age: 18 to 30
  • Louise – Jules and Yvonne’s spoiled little girl. She faces neglect and abuse from her parents, despite being honest. Doubling as BOY.
    • Gender: Female identifying
    • Age: 8 to 12
  • Franz – Jules’s German coachman and Freida’s husband. Disgruntled with his job. Has a bit of a temper and secretly yearns for the Nurse. Optional Doubling as DENNIS.
    • Gender: Male identifying
    • Age: 30 to 50
  • Frieda – As Frieda, Jules and Yvonne’s cook and Franz’s wife. Caring and positive as a surrogate nanny to Louise. Forced by Jules into an affair. Doublings include BETTY and YOUNG MAN.
    • Gender: Female identifying
    • Age: 35 to 55
  • Soldier – A French military man, polite and gentlemanly. Close with his companion, though he yearns for a separation. Doubling as ALEX.
    • Gender: Male identifying
    • Age: 20 to 35
  • Louis – A baker who Dot starts seeing to make George jealous. Kind, friendly, and very popular, but a bit dull. Doublings include BILLY WEBSTER and MAN.
    • Gender: Male identifying
    • Age: 35 to 55

Ken Ludwig’s Baskerville

Director: Suzanne Withem

Rehearsals: July 11 – 26

Performances July 27 – August 6

Summary: 

BASKERVILLE A SHERLOCK HOLMES MYSTERY comes from multi-award-winning playwright Ken Ludwig and follows Sherlock Holmes and Dr. Watson cracking the mystery of “The Hound of the Baskervilles.” With an original piano score by Jeff Horger and direction by our own Suzanne Withem, our intrepid investigators will take the stage at OAT portraying more than 40 characters!

Character descriptions:

  • Sherlock Holmes – The world’s greatest detective is sophisticated, quick-witted, and passionate. He is an English gentleman who is very precise in speech and manner. A strong standard British or RP dialect is required. This actor plays only one role.
    • Gender: The character will be portrayed as male, but all genders will be considered.
    • Age: 25-40

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  • Dr. John Watson – A kind amiable doctor and Sherlock Holmes’s faithful sidekick. A man of action, intellect and deep emotion. He is also very British. A strong standard British or RP dialect is required. This actor plays only one role.
    • Gender: The character will be portrayed as male, but all genders will be considered.
    • Age: 25-40

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  • Actor 1 – Plays more than a dozen characters – primarily the male-identifying villains and baddies. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Male identifying
    • Age: Any

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  • Actor 2 – Plays nearly a dozen characters – primarily male-identifying heroes and gentlemen. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Male identifying
    • Age: Any
  • Actor 3 – Plays more than a dozen characters – primarily female-identifying maids, nurses, and damsels in distress. Must be a versatile character actor adept in physical comedy and various accents and dialects.
    • Gender: Female identifying
    • Age: Any

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  • Roustabouts and Foley Artists- These two or three nonspeaking roles will assist with scene changes, participate in comedy bits, and serve as Foley artists providing live sound effects for the production from onstage. They should be creative problem solvers adept at physical comedy and familiar with silent storytelling. They are vital to the success of keeping the “trunk show” design of the production moving forward and creating the world of the theatre in which the play is performed.
    • Any Gender
    • Any Age
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Ozark Actors Theatre Announces 2023 Season “ACROSS THE POND”

Rolla, MO–Ozark Actors Theatre has announced its 2023 season. Titled “ACROSS THE POND”, the season features the following productions:

A GENTLEMAN’S GUIDE TO LOVE AND MURDER won 4 Tony Awards, 7 Drama Desk Awards, AND it was nominated for a Grammy! This production is a hilarious farce following a young man’s luck at the prospect of inheriting a fortune, but he has 9 relatives ahead of him in the inheritance. This production directed by OAT alum Brittany Proia, will give one actor the opportunity to die 90 times on the OAT stage in this incredible comedy!

SUNDAY IN THE PARK WITH GEORGE follows the story of the famous pointillist painter Georges Seurat. A fictional retelling of the painter and his immersive existence in creating a masterpiece. One of only 8 musicals ever to have won the Pulitzer Prize for drama. It was also nominated for 10 Tony awards and has had two major Broadway revivals. Directed by Artistic Director, Blane Pressler.

BASKERVILLE A SHERLOCK HOLMES MYSTERY comes from multi-award-winning playwright Ken Ludwig and follows Sherlock Holmes and Dr. Watson cracking the mystery of “The Hound of the Baskervilles.” With an original piano score by Jeff Horger and direction by Suzanne Withem, our intrepid investigators will take the stage at OAT portraying more than 40 characters!

Audition information to be released in December.

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The Tracks of Death

A murderer is lurking aboard the famed Orient Express.  Unfortunately for the fiend, the world’s greatest detective is also riding the train.  Will Hercule Poirot be able to solve the baffling killing of a shady businessman?  Find out in Murder on the Orient Express currently playing at the Omaha Community Playhouse.

As I stated in a previous review of this production, I’m not going to delve into plot details as I want the audience to experience the story fresh so they get maximum enjoyment out of it.  However, I can say that Ken Ludwig does an admirable job adapting Agatha Christie’s classic novel.  Ludwig stays fairly close to the source material though he does eliminate several characters which is a salient plot point and clue in the novel, but works around it pretty well.  Though known for farce, Ludwig plays this show pretty straight, yet manages to work a little humor into the story with his vaunted wordplay.

Anthony Clark-Kaczmarek’s direction is, on the whole, very accurate and precise.  He cuts a brutally brisk pace which keeps the audience on the edge of their seats as Poirot peels back the layers of the case.  His staging is spot on, making us feel the enclosed nature of the train and always well placing his performers so you can see their reactions to the goings-on at any given moment.  Clark-Kaczmarek also proves adept at pulling out some truly masterful performances from his thespians.  That being said, it also seemed like he tried to force a little comedy into the production as several of his actors were a little over the top which made them feel like caricatures instead of characters and didn’t always gel with the more grounded performances.

Some of the highlights of the night were Brennan Thomas who is a pretty mean S.O.B. as the murder victim, Samuel Ratchett.  Olivia Howard gives a beautiful, underplayed performance as the governess, Mary Debenham.  Ethan Dragon gives a master class in animation as the affable, and theatrical, Monsieur Bouc.

Connie Lee dominates her scenes as the obnoxious Helen Hubbard.  When Hubbard starts talking, one starts looking for her off switch as she never shuts up and has a grating personality that would even rub Mr. Rogers the wrong way.  Whether she’s frustrating passengers with late night singing and dancing or flirting with the conductor in an attempt to nab a new husband, Lee simply lights up the stage with her effervescent presence.

Daena Schweiger displays a superior dry wit as Princess Dragomiroff.  Seldom have I seen such potent hilarity come from such monotone delivery.  Schweiger knows just what words to emphasize or phrasing to utilize to get the fullest effect from Dragomiroff’s lines and her verbal sparring with Lee’s Hubbard was one of the show’s shining moments.

Seth Maisel wows in his Playhouse debut with a superb turn as Hercule Poirot.  Maisel easily conveys Poirot’s uber fastidious (bordering on OCD) personality with his hyper attention to details and the wiping of his hands after shaking with an old friend.  He also well communicates his genius with his rapid-fire deductions and ability to see through red herrings.  Maisel also brought a fantastic intensity to the role which I thoroughly enjoyed.  Maisel’s Poirot kowtows to nobody and has a highly developed sense of justice which is put to the test when that sense of justice is challenged by his dedication to the law.  His realization that, for once, justice and the law may not be one and the same leads to a haunting monologue excellently and subtly delivered by Maisel.

Justin Payne’s score had me ready for a night of mystery with its relentless eeriness.  Jim Othuse surpassed himself with this set as the Orient Express became another character with its luxurious sleeping compartments, elegant dining room, and imposing edifice during a scene done on the back of the train.  Lindsay Pape’s costumes were right on the money with the elegant suit of the impeccably dressed Poirot, the doughty dress of the uber religious Greta Ohlsson, or the spiffy uniform of Michel, the conductor highlighting some of her costuming prowess.  John Gibilisco and Tim Burkhart impressed with their sounds whether it be a gunshot, a chugging and braking train, or the flashback effect used on voices during the denouement.

The show will assuredly hold your attention and perhaps even have you white knuckling your armrests at points.  With its blitzkrieg pace, strong writing, assured direction, and solid performances, Murder on the Orient Express does provide a gripping night of mystery.

Murder on the Orient Express runs at the Omaha Community Playhouse through Oct 10.  Showtimes are Wed-Sat at 7:30pm and Sundays at 2pm. Tickets start at $25 with prices varying by performance. Tickets may be purchased at the OCP Box Office, by phone at (402) 553-0800 or online at OmahaPlayhouse.com. The Omaha Community Playhouse is located at 6915 Cass St in Omaha, NE.

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P.S. I Love You

Josh Peyton and Sarah Schrader star in “Dear Jack, Dear Louise”

During World War II, Cpt. Jacob “Jack” Ludwig, an Army surgeon, began a correspondence with aspiring actress, Louise Rabiner.  Over the course of 3 years, their trading of messages blossomed into true love.  Follow the evolution and the ups and downs of their relationship in Dear Jack, Dear Louise currently playing at the Omaha Playhouse.

Ken Ludwig called this show a love letter to his parents as it is based on the true story of their courtship.  I don’t know if he used the actual letters written by his parents, but if he didn’t, he certainly managed to replicate the feel of a mail correspondence.  The dialogue of the letters perfectly captures that initial spark of interest, the getting to know each other, even the difficulties and squabbles every relationship undergoes, and the glow of real love.  It is also laced with the trademark wit and humor of Ludwig, but also shows his skills as a dramatic writer as he features some heavy moments that have all the subtlety of kissing a runaway freight train.

Susie Baer-Collins provides an outstanding piece of direction with the production, possibly one of her very best and that is saying something.  Her sure hand deftly handles this variation on the duologue and the conversations always snap and sparkle with realism and vitality.  I absolutely loved the staging with one character always slightly in front of another to show that they were in two different places.  Baer-Collins also pulled an extraordinary pair of performances from her two thespians.  If the quality of this show is an indicator of the rest of the season, it’s going to be an amazing ride at the Playhouse this year.

Over the past few seasons, Josh Peyton has established himself as one of the most believable actors in Omaha.  There is an extemporaneousness and naturalness to his performances that makes it seem like he is never acting, just being.  And this show is certainly no exception.  Peyton is sensational in the role of Jack Ludwig.  He reminded me of my own pop (who courted my mother through letters and tapes during the Vietnam War) with his quiet nature and dry wit.  His timidity in his early letters is so sweet and it was a joy to watch his confidence grow in proportion to his burgeoning love for Louise.  Peyton’s reactions are always just right and equal parts hilarious and haunting when the moment calls for them.  He also has a superb physicality which not only strengthen those expressions and reactions, but tells stories of their own such as dodging bullets and bombs and crawling through the dirt during hellish battles of the war.

I see great things in store for Sarah Schrader’s theatrical future after her phenomenal debut in this show. She is an absolute dynamo as Louise Rabiner and just seemed to quiver with energy.  Schrader was a perfect blend of sweet and tart as she could write very sensitive letters and then drop an epithet or pitch a mild fit in the blink of an eye.  Her animation blew out the scale and was always appropriate for the high energy actress with an obvious joie de vivre.  Schrader was equally impressive in the show’s heavier moments as she deals with the heartaches and fears of courting a soldier.

John Gibilisco’s usage of sound was some of the best I’ve heard in a show especially with the explosion of bombs and the belching of gunfire.  Jim Othuse created a simple set of tables, wardrobe, and shelves that provide the audience an opportunity to fill in the rest of the details with their own imaginations.  Othuse’s lights were remarkable with the flashing lights of rockets, the solo spotlights of sadder moments, and the lighting up of the theatre for VE Day.  Lindsay Pape’s costumes were spot on with Ludwig’s period military uniform and fatigues and the elegant 40s style dresses for Louise.

This was one of the most personally satisfying shows I’ve seen in recent years and, though the season be young, I think Peyton & Schrader have set an awfully high bar in terms of performances.  Get a ticket and you’ll see what I mean.

Dear Jack, Dear Louise runs at the Playhouse through Sept 19.  Showtimes are Thurs-Sat at 7:30pm and Sundays at 2pm.  Tickets stat at $36 and can be purchased at the OCP Box Office, by calling 402-553-0800, or visiting www.omahaplayhouse.com.  The Omaha Playhouse is located at 6915 Cass St in Omaha, NE.

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OCP Needs Some Passengers for the Locomotive of Death

Omaha, NE.–The Omaha Community Playhouse (OCP) is holding auditions for the upcoming production of Murder on the Orient Express on Saturday, July 10 at 10:30 a.m. at Revive! Center Omaha, Sunday, July 11 at 1 p.m. at OCP and Monday, July 12 at 1 p.m. at OCP.

Through upholding high ethical standards, demonstrating respect for all and consciously working to provide diverse representation, OCP is committed to creating an inclusive and safe environment in which all community members feel a sense of belonging, and does not discriminate in casting practices on the basis of an individual’s ethnicity, age, gender, physical and cognitive ability, sexual orientation, gender identity, religion, country of origin or other factors. Omaha Community Playhouse is committed to diverse and inclusive casting.

Production: Murder on the Orient Express

Adapted by: Ken Ludwig

Director: Anthony Clark-Kaczmarek

Show Dates: Sept. 17 – Oct. 10, 2021

Omaha Community Playhouse, Hawks Mainstage Theatre

Performances are Wednesdays – Saturdays at 7:30 p.m. and Sundays at 2:00 p.m. in the Hawks Mainstage Theatre. Actors are called to the theatre one hour before curtain.

Rehearsals: Begin August 1, 2021

Show Synopsis: A thrilling whodunit set aboard the world’s most famous luxury locomotive, Murder on the Orient Express will keep you guessing until the very end. When the Orient Express becomes stranded by a snowstorm, a passenger is found stabbed to death in his private room. With the murderer still on board, a detective must solve the crime before the train reaches its destination.

Roles: Hercule Poirot – Male identifying, all ethnicities: A famous Belgian

Monsieur Bouc – Male identifying, all ethnicities: A Belgian man

Mary Debenham – Female identifying, all ethnicities: A governess

Hector MacQueen – Male identifying, all ethnicities: Rachett’s personal secretary

Michel and Conductor/Marcel – Male identifying, all ethnicities: one actor will play two roles

Princess Dragomiroff – Female identifying, all ethnicities: A Russian dowager

Greta Ohlsson – Female identifying, all ethnicities: Princess Dragomiroff’s traveling companion

Countess Andrenyi – Female identifying, all ethnicities: A countess through marriage

Helen Hubbard – Female indentifying, all ethnicities: an outspoken and flamboyant American from the Midwest

Colonel Arbutnot – Male identifying, all ethnicities: Scotsman

Samuel Rachett – Male identifying, all ethnicities: middle aged American businessman

Auditions: Those who wish to audition may choose one of the following three audition dates:

§ Saturday, July 10, 10:30 a.m. – 1:30 p.m.

Revive Center Omaha, 2402 Lizzie Robinson Ave. (24th & Lake), Omaha, NE. 68111

§ Sunday, July 11, 1:00 p.m. – 4:00 p.m.

Omaha Community Playhouse, 6915 Cass St, Omaha, NE 68132

§ Monday, July 12, 7:00 p.m. – 10:00 p.m.

Omaha Community Playhouse, 6915 Cass St, Omaha, NE 68132

Callbacks: Monday, July 19, 7:00 p.m.

Notes: Auditions are by appointment only. Please contact Becky Deiber at bdeiber@omahaplayhouse.com to schedule an audition appointment and request audition paperwork and sides.

Those auditioning will be asked to read from the script provided at auditions.

When arriving to audition at the Playhouse, please enter through the Stage Door entrance on the West side of the building.

Please Bring: All contact information, personal schedules and a list of rehearsal conflicts with which to fill out an audition form. To expedite the check-in process, please bring a recent photo if you have one available. Please note, photos will not be returned.

COVID-19 In accordance with the CDC, if an individual is not vaccinated, they must wear a face mask. If

Protocols: an individual is vaccinated, they can decide whether to wear a face mask or not. All performers are required to be fully vaccinated. Proof of vaccination will be required upon casting.

Contact: For more information, contact Becky Deiber at bdeiber@omahaplayhouse.com or (402) 553-4890.