Murder on the Orient Express

Bluebards Theatre Troupe and Cadet Entertainment Present Agatha Christie’s Murder on the Orient Express Adapted for the Stage by Ken Ludwig ]]]] October 29th and 30th in A-Hall Ballroom “Agatha Christie's Murder on the Orient Express” is presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc. www.concordtheatricals.com

Agatha Christie’s Murder on the Orient Express Adapted by Ken Ludwig There will be one 10-minute intermission Cast Brendan “Neo” Anderson (In Order of Appearance) Hercule Poirot, a famed Belgian detective Head Waiter, a waiter at the Tokatlian Hotel in Istanbul Christiana Paljug Mary Debenham, an English governess Gabriella Gerving Colonel James Arbuthnot, a British officer Charles Erwin Mrs. Helen Hubbard, an American socialite and tourist Anna Caldwell Hector MacQueen, private secretary to Mr. Ratchett Erik Pfaffenbichler M. Constantine Bouc, a Belgian railway executive Sawyer Stone Princess Natalia Dragomiroff, a Russian noble living in exile Abigail Worley Greta Ohlsson, her traveling companion, a Swedish missionary Sophia Hirtle Michel, the head conductor on the Orient Express Santos Colon, Jr. Samuel Ratchett, an American businessman Adam “Wes” Masters Countess Elena Andrenyi, a Hungarian aristocrat and physician Cassandra Dudas Ensemble/Understudies Holly Boudreau ◦ Jacob Brady ◦ Catherine “Cat” Crow Agatha Christie’s Murder On The Orient Express adapted by Ken Ludwig was originally staged by McCarter Theater Center, Princeton, NJ. Emily Mann, Artistic Director; Timothy J. Shields, Managing Director. The production subsequently transferred to Hartford Stage, Harford, CT. Darko Tresnjak, Artistic Director; Michael Stotts, Managing Director

Director’s Note The term “detective fiction” invariably evokes images of Victorian London; the most famous literary detective of all time made his home in London (at 221b Baker Street, to be precise) and represented the triumph of the Victorian middle-class ethos. And yet, what is noteworthy about Victorian mystery/sensation novels is that the main characters are rarely professional detectives (official or otherwise). Rather, they are ordinary people who get caught up in extraordinary puzzles and who thus contract a severe case of what the great sensation novelist Wilkie Collins called “detective-fever.” For example, as D. A. Miller notes in his seminal text on Victorian detective fiction The Novel and the Police, the mystery of Oliver’s true family name and legacy in Dickens’s Oliver Twist is solved by a collection of middle-class characters who have no official connection with the police. Indeed, they must deliberately bypass the police at various points in the novel: “We would call this vigilantism,” writes Miller, “except that no ultimate conflict of purpose or interest divides it from the legal and police apparatus that it supplants. Such division as does surface between the law and its supplement seems to articulate a deeper congruency, as though the text were positing something like a doctrine of ‘separation of powers,’ whereby each in its own sphere rendered assistance to the other, in the coherence of a single policing action” (7-8). Dame Agatha Christie — who was a devotee of Wilkie Collins’ novels, and who eventually became the heir to the 19th-century detective/sensation fiction tradition — was born in the waning days of the Victorian era and wrote her first detective novel during the Great War. It was while volunteering as a nurse in Torquay that Christie conceived of Hercule Poirot. Much like Sherlock Holmes, Poirot would take on a life all his own (sometimes to the frustration of his creator.) While Holmes represented the Victorian middle-class/urban professional and served as a bastion of the British Empire, Poirot — a Belgian refugee working in London — came into being at a time of uncertainty regarding imperial solidity and English cultural identity. The alignment that Miller noted in Victorian detective fiction (which saw policemen and ordinary citizens uniting behind a shared vision of middle-class morality) was no longer a certainty. Murder on the Orient Express raises a difficult question: what happens when there is a direct “conflict of purpose or interest,” or an incongruity between “the law and its supplement”? How should we react when the potential for vigilantism that Miller warned of actually manifests itself? The surface-level plot points that make Murder on the Orient Express such a compelling mystery (e.g., “everyone is a suspect”; “the murderer is still among us”) are of secondary importance to the deeper legal, ethical, and philosophical questions raised by the unique situation/solution. These questions and quandaries fall to Hercule Poirot for redress. It is easy to get caught up in Poirot’s eccentricities, unusual appearance, mincing mannerisms, and dandyism, and to thus regard him as an absurd caricature rather than a fully-realized character. In a documentary celebrating the great David Suchet’s twenty-five years playing Poirot on television, Suchet recounted a

conversation he’d had with Christie’s daughter and son-in-law upon first accepting the role: “We want the audience to be able to smile with Poirot but never laugh at him.” Suchet’s gravitas as a method actor ensured that — in spite of all the humorous touches he brought to the part — Poirot would retain an essential dignity. Thus, the ethical quandaries that Poirot faces in Murder on the Orient Express are in keeping with the character’s fundamental sincerity. Poirot’s utter fixation on order — a fixation which might be described as obsessive — only heightens the essential tension of this mystery; in Murder on the Orient Express, he faces a crime (and a solution) that creates absolute disorder. As Suchet stated, “In the 70 films I’ve played Poirot, Murder on the Orient Express was the one which showed him in a turmoil of conscience we’ve never seen before.” Again, it is the humanity of the superhuman detective that creates the necessary framework for wrestling with the deeper questions of conscience raised by the mystery. When I reflect on the brilliance of Suchet’s portrayal of Poirot, I invariably find myself focusing on the sadness that is always lurking behind the character’s eyes. That sadness — which tempers the humorous eccentricity — stems from a variety of factors, both personal and professional. We must not forget that Poirot’s back-story is an unhappy one: he watched his beloved Belgium fall and writhe under the German jackboot, and he was forced to flee to England and live the lonely life of a refugee. Poirot’s status as a displaced evacuee who tirelessly seeks to contribute to the good of his adoptive country underscores his timelessness (much as Murder on the Orient Express reminds us of the equally timeless moral questions that make being human so difficult and so beautiful). The topics of difficulty, beauty, and humanity (in that order) will serve as the basis for my conclusion. Producing a complex murder mystery on a tight timetable in a performance space that we have never used before was a difficult undertaking to say the very least. We have done our best to overcome many technical and spatial limitations. As you begin your journey with us on the Orient Express, it will be up to you to imagine wall-divides and doors between sleeping berths, falling snow in Yugoslavia, and powerful locomotives. You will receive support in this imaginative endeavor from our outstanding RATTEX stage crew and from the wonderful work of Jandy Villoria, Kevin Conroy, and Dorinda Epps, to whom I am deeply indebted. I must also thank Cadet Entertainment for helping bring this challenging project to fruition. In regard to beauty and humanity, I cannot fully convey my gratitude to the wonderful cadets in the cast. When we started on this difficult journey together, we agreed that our foremost goal would be to ensure that the complexity of each of the characters came through: Col Arbuthnot would be more than a blustering British officer; Mrs. Hubbard would be more than an obnoxious American tourist; and Miss Debenham would be more than a shy English rose. The cadets found the beauty and humanity of their characters and made the experience all the richer for everyone involved. As always, working with them has deeply enriched my life. Finally, I would like to thank each one of you for supporting the performing arts by attending this performance. Marc Philip Napolitano

Cast Bios Brendan “Neo” Anderson (Hercule Poirot) may or may not be a junior who is potentially appearing in his fourth Bluebards show (please note the air of mystery he has created!) He made his Bluebards debut as Richard Wilkins and one of the charity collectors in A Christmas Carol; last year, he played Edmund in King Lear. Outside the theater he enjoys running, aerial fabric dancing, and cosplay. He'd like to thank his family for their support, and Heidi McGowan and Marissa Hansen for their inspiration. Holly Bourdreau (Ensemble; Properties) is a sophomore from Clarksburg, Massachusetts, who is appearing in her first Bluebards show. Previously, she has acted in school productions such as The Copacabana, Back to the 80's (Tiffany), and Sweet Charity (Charity Valentine). Outside of Bluebards, Holly is in the PEER program, Scholars Program, and Cadet Chorale. She also loves biking, hiking and spending time with friends. She gives a big thanks to her family, friends, and the cast and crew for welcoming her into the family this year and for putting on a great and fun production! Jacob Brady (Ensemble) is a freshman from Jackson, Mississippi; he hopes to major in Engineering Chemistry, but he is keeping his options open! Though he has little prior theatre experience, he is very excited to be a part of Bluebards. In addition to acting, Jacob enjoys playing guitar and soccer. Big shout-out to the cast for their great work! Anna Caldwell (Mrs. Helen Hubbard) is a junior from Milledgeville, Georgia, who is excited to finally be producing a live, onstage show for the first time since freshman year! Previously, you may have seen her fiddling around and asking for money in A Christmas Carol, or stabbing some very bad people in King Lear. Anna is an English major with a Russian minor, so when she's not reading, writing, or rehearsing, you can find her struggling through core STEM classes or procrastinating with friends. She would like to thank everyone that has supported (and continues to support) her here at USAFA. Santos Colon, Jr. (Michel) is a freshman from the NY/NJ area and is excited to be back in theatre after almost two years. During high school, Santos was part of several musical productions including Shrek the Musical (Donkey), Memphis (Perry Como/Club-goer), Thoroughly Modern Millie (Dance Trio), Godspell (Jesus), and Singin' in the Rain (Don Lockwood). He is very excited to act in his first non-musical play. After high school, he attended USAFA's Prep School. In his free time, he enjoys listening to music, singing, and playing any competitive sport. Santos would like to give a special shout-out to his parents for always supporting his theatrical endeavors, and to God for granting him the opportunity to pursue an education at USAFA while also engaging his love for the stage. Catherine Crow (Ensemble) is a senior from Cedarburg, Wisconsin, who is delighted to be participating in Bluebards’ production of Murder on the Orient Express. Her previous theater credits include Pygmalion, Camp Rock, and an abridged Les Miserables. In addition to Bluebards, Cat is a member of the USAFA mountaineering team, Steel Script poetry, and Schulte Assembly leadership; she also enjoys creative writing, guitar/flute

and other musical hobbies, and outdoor activities. Cat would like to thank her family, her teammates, and the entire cast and crew for supporting her throughout the production. Cassandra Dudas (Countess Elena Andrenyi) is a junior from St. Peter's, Missouri, who is excited to return to the USAFA stage after a long absence this past year and a half. Previously, she was seen in Bluebards’ A Christmas Carol (Ghost of Christmas Present) and King Lear (Regan). Outside of Bluebards, you can find her at the gym, running, or singing when no one is watching. She also enjoys narrating for the Cadet Narration team at USAFA events. Cassie would like to thank her family and friends for their never-ending love, and Jesaiah for always showing her that doing what she loves will take her far! Charles Erwin (Colonel James Arbuthnot) is a junior at USAFA. He has participated in theatre since sophomore year of high school and has been performing with Bluebards for three years now: first, as Peter Cratchit in A Christmas Carol, and then as the Duke of Cornwall in King Lear. He would like to thank his family, friends, and cast-mates for supporting him in all he does, and he hopes everyone in the audience enjoys his role and the entire production of Murder on the Orient Express! Gabriella Gerving (Mary Debenham) is a senior who has been involved with Bluebards since her first semester at USAFA; she is excited to be appearing in her fifth show. Gabby has previously performed in the troupe’s productions of Richard III (Princess Elizabeth), The Music Man (Chorus), A Christmas Carol (Belinda Cratchit), and King Lear (Oswald). She’d like to thank her parents and friends, and she hopes everyone enjoys the show. Sophia Hirtle (Greta Ohlsson; Costume Designer) is a junior from Pinehurst, North Carolina, and is excited to continue her Bluebards career. As a freshman, she appeared in A Christmas Carol (Child Scrooge), and last year, she “played the fool” (that is, Lear’s Fool) in King Lear. Prior to USAFA, she appeared in The Wizard of Oz (Jitterbug, Crow, Ozian), The Addams Family (Grandfather Ghost), and Cinderella (Count). Outside the theatre, Sophie can be found reading, watching movies, or enjoying the outdoors. Adam “Wes” Masters (Samuel Ratchett) is a senior, and is proud to be the “oldest rookie” in the show. This marks his very first time performing onstage, and he is grateful to the cast for their guidance throughout the production. He would also like to thank everyone who has supported him at USAFA over the past 3.5 years, especially his family. Christiana Paljug (Head Waiter) is a sophomore from Pittsburgh, Pennsylvania, and is so excited to perform in her first live Bluebards production! She has previously performed in The Importance of Being Earnest (Gwendolyn) and The Crucible (Tituba). Outside of theater Christiana is a member of USAFA’s Sabre Drill Team and Cadet Chorale; she spends her free time reading, knitting, and singing. Thanks to the cast and crew!

Erik Pfaffenbichler (Hector MacQueen) is a sophomore from Tampa, Florida, who is very excited to be making his Bluebards debut. He does not have any previous theatre credits (COVID cancelled his one prior show), but was a part of show choir for four years. Erik is a member of the USAFA Dive Team and enjoys singing, playing piano, writing songs, and watching sports. He would like to thank his family and teammates for their constant support. Special thanks to Mom for encouraging him to join Bluebards. Sawyer Stone (Constantine Bouc) is a freshman from Biloxi, Mississippi, and is thrilled to once again be performing onstage. Some of his previous theater credits include roles in school productions of Little Shop of Horrors (Orin Scrivelo DDS), Willy Wonka (Willy Wonka), and Curtains the Musical (Aaron Fox). In addition to Bluebards, Sawyer performs with the cymbal line for USAFA's D&B Corps, and is a member of the USAFA I5 Public Affairs Team. Music is one of Sawyer’s foremost passions, and he plays with one of the USAFA Protestant Worship Teams on Sundays. He’d like to thank everyone who has supported him over his time in theater, as well as this incredible cast and crew! Abigail Worley (Princess Natalia Dragomiroff) is a 3rd-class cadet; this is her first performance with Bluebards, but she hopes there will be many more! Previously, she played the title role in her high school production of the musical Mary Poppins. Though she has little experience in theatre, she is very grateful to have had the opportunity to learn from her cast-mates. Abby loves anything with people, so she is very excited to have been able to make so many new friends through Bluebards! Author’s Bio: Ken Ludwig has had six shows on Broadway, seven in London's West End, and many of his works have become a standard part of the American repertoire. His 28 plays and musicals have been performed in over 30 countries in more than 20 languages and are produced throughout the United States every night of the year. Lend Me a Tenor won two Tony Awards and was called “one of the classic comedies of the 20th century by The Washington Post. Crazy For You was on Broadway for five years and won the Tony and Olivier Awards for Best Musical. In addition, he has won the Edgar Award for Best Mystery of the Year, two Laurence Olivier Awards, two Helen Hayes Awards, and the Edwin Forrest Award for Contributions to the American Theater. His plays have starred, among others, Alec Baldwin, Carol Burnett, Tony Shaloub, Joan Collins and Hal Holbrook. His stage version of Murder on the Orient Express was written expressly at the request of the Agatha Christie Estate, and his latest play, Dear Jack, Dear Louise, won the 2020 Charles MacArthur Award for Best New Play of the Year and is optioned for Broadway. His book How To Teach Your Children Shakespeare, published by Penguin Random House, won the Falstaff Award for Best Shakespeare Book of the Year, and his essays are published in the Yale Review. He is a graduate of Harvard and Cambridge and is a frequent guest speaker for groups as varied as The Oxford-Cambridge Society, The Jane Austen Society of North America, The Folger Shakespeare Library, and The Baker Street Irregulars. For more info, see his website at www.kenludwig.com.

Special Thanks Cadet Clubs Cadet Entertainment Department of English and Fine Arts Falcon Theatre Foundation Alumni Group Mr. Rob Wells and Mr. Kevin Watson, DF TAC Dr. Calli Holaway, Center for Educational Innovation Brigadier General Linell Letendre, Dean of the Faculty Brigadier General Paul Moga, Commandant of Cadets Dr. Olga Scarborough, Department of Foreign Languages Cast of Complete Works of William Shakespeare (abridged) Mr. Chuck Buggey and Ms. Abbey Ganz, Cadet Clubs Staff Mr. Jandy Viloria, Mr. Kevin Conroy, and Ms. Dorinda Epps Mark Winter and Jeanne Hollander, A-Hall Ballroom Staff Sarah Frazier and Madison Nacca, Cadet Entertainment Lt Colonel Michelle Ruehl and Major Brian Kester Sophia Hirtle, Nya Oster, and Hannah Kim Spencer Miller and the RATTEX Team David French and Kris Jones Holly Boudreau “What an egg-shaped head he had. […] A ridiculous-looking little man. The sort of little man one could never take seriously.” –Mary Debenham’s first impressions of Poirot in the original novel THE VIDEOTAPING OR MAKING OF ELECTRONIC OR OTHER AUDIO AND/ OR VISUAL RECORDINGS OF THIS PRODUCTION AND DISTRIBUTING RECORDINGS OR STREAMS IN ANY MEDIUM, INCLUDING THE INTERNET, IS STRICTLY PROHIBITED, A VIOLATION OF THE AUTHOR (S)’S RIGHTS AND ACTIONABLE UNDER U.S. COPYRIGHT LAW. FOR MORE INFORMATION, PLEASE VISIT: https://concordtheatricals.com/resources/protecting-artists