The Blue, Bluegrass of Kentucky: Montgomery Inn & Versailles, KY

Today the road has brought me to Versailles, KY.

Memorial Day Weekend had arrived and I was long overdue to answer the call of the road.  Truth be told, this weekend was a bit of a treat for me as I had recently been promoted into a senior level position so I didn’t waste a beat in booking a room at Montgomery Inn Bed & Breakfast.

This was one of my longer outings, and would require 2 days of driving.  Eight hours of driving on day 1 brought me to Mt Vernon, IL where I stopped for the night at a Holiday Inn.  After several hours of rest, I was ready for some dinner so I walked the few hundred feet to Showdown Steakhouse & Saloon.

Showdown Steakhouse & Saloon

For a rarity, I was starving.  (What can I say?  An apple and a bit of beef jerky wasn’t enough fuel to see me through the day.)  I ordered the 10 oz ribeye with some sauteed mushrooms and onions along with a salad and enjoyed one of the tenderest steaks I’ve ever sunk my teeth into along with some of the fluffiest rolls I’ve ever tasted with a smidgen of cinnamon butter.

The weariness of an 8 hour drive combined with a relaxing meal finally caused fatigue to catch up with me and I called it a night at 9pm where a full night of sleep re-energized me for another day of driving.

Sometimes even the interstate can take you to a pretty neat place.  Part of my 2^nd day drive went through Indiana and for years I’ve semi-joked about how travel grinds to a halt due to about five interstates merging there.  But this route was almost a subtle entry and it took me through the Hoosier National Forest where I just got to enjoy some of God’s splendor as I zipped down the lone interstate.

I rolled into town a tick past 1pm.  I had paid $25 to check in early so I wandered into the house and met the innkeeper, Pam, and her trusty labradoodle, Sadie.  Pam gave me the codes to use Hulu and Netflix and sent me to my room, the Cottage Suite.

This inn is a bit different than any I’ve visited.  None of the rooms are in the house proper.  Connected to the house is a long trailer shaped like a railroad car (it was once an open walkway) and all of the rooms plus the dining room are contained in the structure.  My room was located in the caboose where I had a little porch where I could enjoy the perfect spring weather.

When I originally booked the room, it was called the Oriental and had an Eastern flavor.  It had a little remodeling done and now had a more homey atmosphere with sky blue walls, some comfy chairs, a king-sized bed with luxury sheets, a writing desk, and a jetted tub.  Truthfully, it felt more like a first class apartment. 

I puttered around for a few hours before I headed to one of Montgomery Inn’s recommended restaurants for my dinner.

That restaurant was Ricardo’s Grill & Pub, a modernized and elegant sports bar.  The pub was packed to the rafters, but service was still incredibly quick and efficient.  I enjoyed a Build Your Own Burger (vegetables, pepper jack, bacon, and grilled onions) while I read a classic mystery from Ellery Queen. 

Ricardo’s Grill & Pub

With a good dinner digesting, I made my way over to Woodford Theatre where I had made arrangements to review their production of The Music Man. 

Woodford Theatre

The theatre has an awfully good location as it shares space in a community center, but has its own auditorium which is very well suited for theatrical productions.  It also packs an impressive amount of talent as I enjoyed a very very good show which you can read about here.

After the show, I returned to the inn, still feeling well juiced due to having lost an hour crossing into the Eastern Time Zone.  So I enjoyed a little Law & Order on my smart TV while cobbling my play review together.  Around 11pm, I sunk under the sheets to enjoy a lengthy and comfortable sleep.

At 8:30am, I headed to the Club Car to have some breakfast.  The room has the look and feel of a dining car and I felt like I was on the Orient Express as I sat down to enjoy a bit of breakfast and conversation with Pam.  She had whipped up homemade cornbread along with a breakfast scramble of sausage, two poached eggs, and fried potatoes.  A little pepper and hot sauce enhanced the already fine meal and I enjoyed a leisurely breakfast before returning to the Cottage Suite.

Normally, I plan a lot of activities, but I didn’t do so this time around.  Two days of driving just found me wanting to relax.  For myself, I took a long soak in my jacuzzi bath and then spent my day reading, walking, and trying to get caught up on Cobra Kai.  I will say that outside of Woodford Theatre, there are also a few museums and historical houses in town.  There are many horse related activities as this is derby country.  The towns of Frankfort and Lexington are also nearby if you’d like to hunt up some other activities.

But I enjoyed a sweet day of doing virtually nothing before heading over to Shelbyville where I enjoyed a service at Church of the Annunciation and then it was time for dinner.

Church of the Annunication

KFC’s founder, Col. Sanders and his wife, Claudia, lived in Shelbyville and had quite a compound.  Mrs. Sanders opened her own restaurant on the property, Claudia Sanders’ Dinner House, which is still in operation today.  Mrs. Sanders had her own secret recipe for fried chicken and I was looking forward to putting that to the taste test.

Claudia Sanders’ Dinner House

The restaurant is located in what seems like a small auditorium on the far end of the property.  You walk into a entry hall which contains a gift shop before being sent down a long hallway to the dining room.  The room does feel like the dining room of a house with a large fireplace at one end of the room with a picture of the Colonel hanging above it.

I ordered the two piece chicken dinner which came with authentic mashed potatoes with milk gravy and a second vegetable of choice (I picked baked apples) along with some fluffy rolls shaped like muffins.  The potatoes were light and whipped.  The baked apples were blended with cinnamon.  And the chicken was tasty and juicy.  Some have said her recipe for fried chicken is better than Col. Sanders.  I think it’s more of an apples and oranges thing, but I liked it and thought it more than measured up to the Colonel’s recipe.

With dinner taken care of, I returned to the inn to rest up for the night before the next day’s travels.

I awoke to a rainy, gray, and chilly morning.  I once again made my way to the Club Car where I was greeted by Pam and the exuberant Sadie.  Today’s repast consisted of homemade waffles with an apple/walnut compote and sausage patties.  I enjoyed some more conversation with Pam (and played a little fetch with Sadie) before bidding the duo adieu and hitting the road.

And so ends another chapter of the road.  If you’re looking for a quaint getaway in some beautiful country, try a stay at Montgomery Inn.  It’s literally a home away from home.

Until the next time. . .happy travels.

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.

‘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

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.

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

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.

Murder Most Foul Coming to OCP

Seth Maisel stars as Hercule Poirot in “Murder on the Orient Express”

Omaha, NE– The Omaha Community Playhouse (OCP) production of Agatha Christie’s Murder on the Orient Express will open Friday, September 17, 2021. The show will run in the Hawks Mainstage Theatre through October 10 with performances Wednesdays through Sundays. Tickets are on sale now starting at $25 with prices varying by performance. Tickets may be purchased at the OCP Box Office, 6915 Cass St., Omaha, NE 68132, by phone at (402) 553-0800 or online at OmahaPlayhouse.com.

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.

Directed By: Anthony Clark-Kaczmarek

Cast

Seth Maisel as Hercule Poirot
Brennan Thomas as Samuel Ratchett
Daena Schweiger as Princess Dragomiroff
Connie Lee as Helen Hubbard
Roz Parr as Greta Ohlsson
Billy Ferguson as James Arbuthnot
Jennifer Gilg as Countess Andrenyi
Olivia Howard as Mary Debenham
Brian Priesman as Hector Macqueen
Ethan Dragon as Monsieur Bouc
Jay Srygley as Michel, the Conductor
Adam Bassing as Head Waiter

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.

OCP Needs Some Sleuths to Solve a Murder

Omaha Community Playhouse Announces Auditions for:

Agatha Christie’s Murder on the Orient Express
Adapted for the stage by Ken Ludwig

Directed by Anthony Clark-Kaczmarek

Production Dates: Feb. 26–March 21, 2021 | Hawks Mainstage
Rehearsals: Begin Jan. 17, 2021

In-Person, by appointment only Auditions
Sunday, Nov. 29 | 2 p.m. in Dance Studio at OCP (6915 Cass St, Omaha, NE)

To schedule an audition time and to receive paperwork, email Becky Deiber at bdeiber@omahaplayhouse.com

Enter through the Stage Door on the West side of the building. For those auditioning in person: Temperatures of auditioners will be taken upon arrival. Auditioners will be required to wear a facemask. Auditions will be held individually. Callbacks may include small groups. Provided seating will be plastic or metal chairs only, no fabric upholstery. The audition space will be appropriately sanitized. When arriving to audition, please enter through the Stage Door entrance on the West side of the building.

Virtual Auditions via Zoom
Monday, Nov. 30 | 6 p.m.
—Email Becky Deiber at bdeiber@omahaplayhouse.com to schedule a virtual audition via Zoom. Video Submission Auditions being accepted now through Nov 29. You can also submit a vocal audition video to Becky Deiber.

OCP Reimagines 96th Season

OCP ANNOUNCES REVAMPED 2020/21 SEASON LINEUP, SAFETY PRECAUTIONS

Omaha, NE.– The Omaha Community Playhouse has announced a new, revamped 2020/21 season lineup with special precautions in place to protect audiences, volunteers and staff from COVID-19.

A SEASON REIMAGINED

This year, COVID-19 brought the world to its knees, and the performing arts—including live theatre—were hit hard. From London’s West End to Broadway, New York, to right here in Omaha, stages around the world have gone dark.

At OCP, we have worked tirelessly to invent new ways to keep performing art alive during this crisis. From streaming productions online to moving shows outdoors, we have adapted and innovated to keep art in our community.

While we’ve been imagining new ways to stay connected, we’ve also been reimagining what a safe in-theatre experience could look like in the era of COVID. We believe we’ve created a plan that places the health of our community first while creating a safe environment for live theatre to thrive. It begins with our reimagined 2020/21 season lineup.

OCP’s New 2020/21 Season Lineup

Billy McGuigan‘s Pop Rock Orchestra*

Aug. 5 – 23

Storz Parking Lot at OCP

Don’t Stop Me Now! A Celebration of Rock Musicals

Aug. 28 – Sept. 20

Storz Parking Lot at OCP

Grounded

Sept. 25 – Oct. 18

Howard Drew Theatre

Yesterday and Today: The Interactive Beatles Experience*

Oct. 2 – Nov. 1

Hawks Mainstage Theatre

I Am My Own Wife

Oct. 30 – Nov. 15

Howard Drew Theatre

A Christmas Carol*

Nov. 13 – Dec. 23

Hawks Mainstage Theatre

Title To Be Announced

Nov. 27 – Dec. 23

Howard Drew Theatre

The Last 5 Years

Jan. 15 – Feb. 7

Hawks Mainstage Theatre

The Candy Project Presents: Guttenberg! The Musical!*

Feb. 12 –March 14

Howard Drew Theatre

Agatha Christie’s Murder on the Orient Express

Feb. 26 – March 21

Hawks Mainstage Theatre

In The Heights

April 16 – May 9

Hawks Mainstage Theatre

Clybourne Park

May 7 – 30

Howard Drew Theatre

Roald Dahl’s Willy Wonka

May 28 – June 27

Hawks Mainstage Theatre

*Special engagement; Not a regular season production

We reimagined our season lineup.

• We added concert-style drive-in shows to take advantage of our outdoor space as long as possible.
• We removed shows with large cast sizes from our fall and winter time slots. In their place, we have added four wonderful productions with two performers or fewer. The new shows are compelling, entertaining and—most importantly—safe. The small cast sizes will allow our actors to safely rehearse and perform, create plenty of room for our backstage crew to social distance and help protect our patrons by reducing the overall number of people present in the theatre.
• Fan favorite Yesterday and Today: The Interactive Beatles Experience will move to the larger Hawks Mainstage theatre and open in October. The larger stage will allow the band to socially distance and the larger theatre will safely accommodate the show’s many fans.
• The holiday tradition of A Christmas Carol will live on for 2020 in a unique and imaginative small cast format.
• Finally, we shuffled four titles from our original lineup to the end of the season. While these shows do feature more cast members, we are hopeful that these productions will be safe to carry out by next Spring. These four shows were selected based on existing ticket sales (via subscriptions), director availability, and royalties logistics.

We reimagined our performance spaces.

• Patrons attending a show in either theatre will be socially distanced from other guests with all groups at least 6 feet apart.
• In the Howard Drew theatre, a plexiglass barrier will be installed around the perimeter of the stage to provide separation between guests and performers.
• Productions will not incorporate any physical audience participation.

We reimagined our safety precautions.

• All audience, staff and volunteers will be required to wear masks. Masks will be available free of charge and must be worn properly in accordance with CDC guidelines.
• Audience members will be required to self-screen for a fever and symptoms of illness prior to arriving at OCP. Those with fever or other symptoms may exchange their ticket at no cost.
• New arrival and dismissal procedures will help encourage social distancing, including staggered vehicle loading/unloading, assigned will call pick up times and row-by-row dismissal after a show.
• Lobbies, reception areas and lines will be arranged and marked to encourage social distancing.
• Plexiglass barriers will be installed in the box office windows with cash-free payments encouraged, touchless credit card transactions offered and touch-free ticket pickup available.
• Common areas and performance halls will be cleaned and sanitized on a daily basis with both cleanser and electrostatic technology.
• All restrooms will be outfitted with touchless fixtures and will be sanitized daily and throughout performances.
• We will no longer hold post-show meet and greets with the actors in the lobby.
• Concessions and drinks will not be available and public water fountains will be closed.
• For a full list of safety precautions, please visit the Omaha Community Playhouse website at omahaplayhouse.com

OCP will continue to evaluate our processes and procedures to ensure we are constantly creating the safest environment possible for our patrons, artists, volunteers and staff. For the most up-to-date information, please visit our website.

The Omaha Community Playhouse has served our community for nearly 100 years. We are confident that with a little (re)imagination, the art will always live on. We hope you enjoy our reimagined 2020/21 season, and we can’t wait to have you back at OCP!

Information for Subscribers:

• Subscribers may select any regular season production from the new lineup above to replace any canceled productions from their original subscription package.
• To select a new show for your package, call the OCP Box Office during the Subscriber Presale to reserve tickets to the new show of your choice.
• New Subscriber Presale dates for all shows will be announced on a rolling basis throughout the season via email and the OCP website.
• For additional information, please contact the OCP Box Office by phone at (402) 553-0800. For Box Office hours please visit the OCP website at omahaplayhouse.com