Theater Review: Murder on the Orient Express

When it comes to a well-known mystery in which much of the audience will come in knowing the outcome, production value accounts for a lot, and this is where the Asolo Rep's rendition shines brightest. The set–an elaborate, meticulously-detailed multi-car train designed by renowned production designerPaul Tate DePoo III–is perhaps the most lavish and fully-realized one I've ever seen on an Asolo stage.

A multimedia screen above the set is used sparingly enough to add appropriate spectacle to the production without impeding on the magic that separates theater from mediums like television and film.Jax Messenger's lighting serves to create a vivid illusion of motion and snow and the elegant costumes byTracy Dorman round out the larger than life presentation.

None of that would matter much, of course, were the acting not on par with the other elements of production. Ensemble pieces require something approaching parity above all else. One oversized performance can spoil the chemistry, if not adequately accompanied and this is another area where the production excels.

Detective Poirot is, of course, the most crucially cast character and, for this role, Asolo landed longtime American Players veteran James DeVita, whom the Wall Street Journal has calledAmerica's finest classical actor, a billing that only seems hyperbolic until you witness his performance. DeVita, whose Poirot in this comedy infused adaptation byKen Ludwig kept calling to mind the late Robin Williams, gives as impressive of a turn as you're likely to see, whether the stage is in southwest Florida or on Broadway.

Tina Stafford gives a hilarious performance asHelen Hubbard that includes some imaginative insertions of Broadway show tunes, and Diana Coates gives a particularly-impressive performance as CountessAndreyni, playing the straight woman to so much slapstick around her. Asolo makes good use of its roster of talented regulars with the always sensational Peggy Roeder as Princess Dragomiroff, Matt DeCaro as the sleazy villain, Samuel Ratchett, and David Breitbart as Bouc, the rail line's owner.

The somewhat farcical approach is a good treatment for an otherwise tired storyline. That said, I wouldn't expect anyone to be fully impressed by the story aspect of the production. However, the fine acting, complemented by a set that is nothing short of captivating, makes for an evening of theater that is more than worthwhile.Murder on the Orient Expressruns through March 8. Visit the Asolowebsitefor ticket information.