Agatha Christie

What a ‘Web’ they weave in Westfield

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By John Lyle Belden

Quick warning for arachnophobes: Main Street Productions has placed numerous toy spiders (some quite life-like) around the Basile Westfield Playhouse. Guess how many there are (fill in a form during the first intermission) to win a prize. However, (ironically) there are none on the stage.

Count on Agatha Christie to weave an entertaining tangle of intrigue, mystery, and humor – we get all this and more in “Spider’s Web,” presented by Westfield’s Main Street Productions, directed by Jan Jamison.

The setting is a big house in the English countryside (of course), Copplestone Court in Kent, in 1954. While Henry Hailsham-Brown (Kevin Caraher) is away on business for the British Foreign Office, his young and highly imaginative wife Clarissa (Phoebe Aldridge) spins tales and plays tricks on whoever is around. In this case, it’s her former guardian Sir Roland Delahaye (Syd Loomis), his old friend Hugo Birch (Jim Simmonds), and young friend Jeremy Warrender (Jeff Haber). Clarissa also cares for Pippa (Ava McKee), Henry’s school-age daughter from his first marriage who is still fragile after the bitter divorce.

The servants on hand are humble Elgin (Thom Johnson) and his wife (unseen), as well as Mildred Peake (Molly Kraus), the gardener who is quite the busybody and suspicious of everyone. An unwelcome visitor, Oliver Costello (Matt McKee), the new husband of Pippa’s mother, stops by. Also, this being a murder mystery, we will soon meet Inspector Lord (Larry Adams) and Constable Jones (Erin Chandler), with an audio cameo by Greg Vander Wyden as the Doctor called to inspect the body.

Along with the corpus delicti, we also have a rather interesting antique writing desk and the presence of a “priest hole,” a short passage to the library disguised by a bookshelf. And a deck of cards. And a volume of Who’s Who. So many details, in fact, that Clarissa spins a number of stories about the events of the evening, confounding and frustrating the Inspector as we work through the various clues to find who did the deadly deed, and why. (Observant viewers can work it out before the climax, this clueless reviewer nearly did!)

Aldridge is wonderful as the fanciful and well-intentioned lady of the house (Wendy notes that this play could have been subtitled, “Clarissa Explains It All”). Loomis has paternal charm in his supporting role. Kraus eagerly takes on quite an interesting character herself as one who is and knows more than she lets on. Adams makes an interesting sleuth, though the frustrating nature of this caper could make Inspector Lord glad that Christie called on other detectives for most of her stories. Seventh-grader Ava McKee makes a nice stage debut as imperiled Pippa.

The wit is sharp with physical humor and a bit of Pythonesque absurdity. It almost qualifies as a comedy – except for, you know, that body behind the sofa.

This humorous whodunit has four more performances, Thursday through Sunday, April 10-13, at Basile Westfield Playhouse, 220 N. Union St. (note there is some road and building construction in the area). Get tickets at westfieldplayhouse.org.

Betty Rage lets us in on a secret

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By John Lyle Belden

Betty Rage Productions presents the longest-running stage play, Agatha Christie’s “The Mousetrap,” in cooperation with The Scottish Rite Valley of Indianapolis, at Indianapolis Scottish Rite Cathedral, directed by the company’s original “Betty,” Callie Burk-Hartz.

The quirky whodunit opened in London in 1952, around when the play is set, and has been performed perpetually since (except for a break for Covid). For the second time in recent memory, this fun mystery plays in Indianapolis, with the hope that all who see it keep to the long-standing tradition to reveal to no one its secrets, including who “dun” it.

As the radio gives a bulletin about a brazen murder in London, near Paddington, Mollie and Giles Ralston (Hannah Embree and Charles Weimer) arrive to prepare Monkswell Manor for its guests. Married just a year, they have just acquired the old home located 30 miles outside the city and have just opened it as a rooming house. She seems wistful and hopeful, while he is stoic and matter-of-fact, still they share a subtle affection.

Just as a blizzard intensifies to confine everyone to the manor (naturally, this is a Christie story after all) we meet hyper and talkative aspiring architect Christopher Wren (named after the famous one, played by Matt Hartzburg); the “perfectly horrible” and never pleased Mrs. Boyle (Gigi Jennewein); easy-going retired soldier Major Metcalf (Mookie Harris); Miss Casewell (Michelle Wafford) whose trousers and attitude mark her as her own woman, brooding and secretive; and finally the expressive and wildly Italian-accented Mr. Paravacini (Lukas Schooler) who not only tells you up-front that you can’t trust a thing he says, he seems to delight in it. The latter is a surprise arrival, having (allegedly) stuck his car in a snowbank, forcing him to walk to this, the nearest house.

Speaking of surprises, local policeman Sergeant Trotter (Aaron Stillerman) suddenly arrives on skis to investigate how Monkswell and its occupants are apparently related to the murder mentioned above. “Three Blind Mice” is the theme of the goings-on, and when body number two is found, the plot intensifies in a quest for the identities of both the killer and the endangered third “mouse.”

Performances are excellent with steady accents. Each acts suspiciously in their own way, keeping fellow characters and the audience guessing. Hartzburg and especially Schooler have a blast with their hilarious over-the-top characters, as others on stage remark on their eccentricities to reassure us that neither is too intense for what the setting and story allow.

Liz Carrier is assistant director and Jamie Rich stage manager. The Scottish Rite provides, aside from the beautiful J. Robert Wortman Auditorium, a stage crew as well as set and props. This includes behind the stage’s central windows a scenic backdrop that dates back to the Cathedral’s first presentations in 1929 (which explains why it is kept as-is and not “snow” covered).

The play only has a single-weekend run, with remaining performances Saturday and Sunday, March 8-9, at 650 N. Meridian, downtown Indianapolis (big castle-like building, you can’t miss it). Promise not to tell, and come see who gets caught in “The Mousetrap.” Get tickets at bettyrageproductions.com.

Intimate look at classic ‘Murder’

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By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

Mud Creek springs delightful ‘Mousetrap’

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By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.

‘Classic’ mysteries presented at President’s house

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By John Lyle Belden

One of the more fascinating theatre experiences in Indy is the unique productions by Candlelight Theatre, taking place in the rooms of the Benjamin Harrison Presidential Site. The Indianapolis home of Benjamin and Caroline Harrison has been restored and preserved with furnishings, art and accessories of the Harrisons, or of the period (late 1800s), so with seating for approximately 20 persons at a time we get an intimate immersive experience of a bygone era.

Thus we gain a new perspective on old stories, such as the spooky scenes of Candlelight’s spring production, “Classic Murder.” Guided to three different rooms of the historic house, we see Edgar Allan Poe’s “Fall of the House of Usher,” adapted by Candlelight’s resident playwright James Trofatter; “In Memoriam,” inspired by a popular Agatha Christie story, adapted by Marlene Remington; and “The Summer People,” by Shirley Jackson, adapted by Brainerd Duffield. Direction by Jill Whelan and Mavis Washington.

In the Sitting Room, we meet Ethan (Drew Carlson), concerned friend of Roderick Usher (Ken Eder). The servant, Miss Gray (Jill Whelan), is taking the dreary atmosphere in stride, even though Roderick’s dear sister, Madeline (Erin Fralick) looks like a living wraith. Madness is closing in on Usher, and could take everything and everyone with it! Even those familiar with the Poe tale can get a chill from the up-close view of this tragedy.

In the Back Parlor, five guests – played by Donna Wing, Brendan O’Sullivan-Hale, Hazel Gillaspy, Ellis Hall, and Stephen Moore – arrive at a mysterious isolated house. A letter alerts them that there is a purpose behind their assembly: vengeance from beyond the grave! Complete with all the twists and humor one expects from a Christie mystery, “In Memoriam” could also surprise you with the who, the how, and the why. 

Many of us have read Jackson’s “The Lottery” (I did in high school), so note its tense atmosphere with the potential of ordinary people doing extraordinarily macabre things also permeates “The Summer People.” When “city” couple Janet and Robert (Ann Richards and Steve Viehweg) decide to stay in their New England summer rental past Labor Day, the townies who had served their every need all summer (Coleen Kubit and James Hayes) don’t take the news well. In some places, change of season means more than just the calendar.

One weekend remains of “Classic Murder,” Friday and Saturday, April 28-29, at 1230 N. Delaware St., downtown Indianapolis. For information and tickets (as well as info on tours and other programs of the Harrison home), visit bphsite.org (click on “Visit” to bring up the menu for Candlelight Theatre).

Entertaining ride on ‘Orient Express’

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By John Lyle Belden

There are two kinds of people who watch a production – film or stage – of the Agatha Christie mystery “Murder on the Orient Express.”

First, there are those who have never seen how it ends. If you encounter such a patron at the Booth Tarkington Civic Theatre production of the play, running through March 25, DO NOT TELL THEM WHODUNIT. Being one of the most famous and creative reveals in the genre, it’s best to be savored as it happens.

Then, there are the fans of stage, screen, or the original text, who know the answer and just enjoy the widely varied and wildly interesting cast of characters, all falling under the scrutiny of Christie’s eccentric Belgian detective, Hercule Poirot.

Penned by Ken Ludwig (at the request of the Christie estate), this “Murder on the Orient Express” more than satisfies both groups. The blizzard of clues – too many, in fact, Poirot notes – will keep newcomers guessing, and Ludwig’s comic touch ensures at least as many laughs as thrills.

Eric Reiberg is pitch-perfect as Poirot in, a credit to him and director John Michael Goodson, a fairly laid-back portrayal of the character. Rather than have an exaggerated look and personality, even his famous curled mustache is understated, letting the various suspects on board the train do the clowning. Still, his bearing, accent, and little quirks are true to character and exert the proper gravitas (in this story, the detective is already world famous).

To set up the play, we get some disturbing audio, as well as Poirot addressing the audience that what we see is a flashback to one of his most complex and troubling cases. With this, we open in Istanbul, Turkey, in 1934. Needing a quick ride across Europe, the detective travels the famed Orient Express, bound for Calais, France, as the honored guest of the director of the rail line, Monsieur Bouc (Rex Wolfley).  

Various men and women board, including a very cocky yet nervous American businessman, Samuel Ratchett (Lee Russell), who tries to hire Poirot to find out who sent him threatening letters. Offended by his rudeness, the detective refuses. But when, with the train halted by a snowdrift in what was then Yugoslavia, Ratchett lies dead of multiple stab wounds, Hercule Poirot finds himself on the case.

Aside from ever-patient conductor Michel (Ronald May) we have our suspects – in fun performances by Evangeline Bouw, Luke Faser, Lauren Frank, Susan Hill, Alexis Koshenina, Sherra Lasley, and Clay Mabbitt – who all have alibis. And what might the motive be? As Poirot peels back the layers of the mystery and discovers hidden identities, he can only come to one conclusion. Or, perhaps, two.

A script like this allows for going a little over the top, and Lasley is a hoot as our brash American who married into riches and belts into song. Bouw is sweetly memorable as a countess who happened to go to medical school. Hill is commanding as the Russian princess; Koshenina is retreating as a shy missionary. Mabbitt and Frank slyly arouse our suspicions even before their characters board – but we actually see where they are at the apparent time of the murder.

I’ll say no more. You need to see this for yourself, but tickets for this wild ride are selling fast.

The Orient Express was an actual rail line, but, alas, its last departure was in 2009. Next best thing is to see this version. Performances are in the appropriately intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel. For information and tickets, go to civictheatre.org or thecenterpresents.org.

IRT’s Christie mystery an exciting ride

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By Wendy Carson

In whodunits, the locked-door mystery is one of the cornerstones and most compelling of all scenarios in the genre. Someone had to have done it, but who, and how? Agatha Christie’s “Murder on the Orient Express” is one of the most original versions of the mystery in existence – not only because of the lavish setting, but also the revolutionary solution to the puzzle. Famed playwright Ken Ludwig has adapted this intriguing story for the stage, now playing at Indiana Repertory Theatre.

Legendary detective Hercule Poirot (Andrew May) has to cut his vacation in Istanbul short to take a case in England. In need of quick travel arrangements, he accepts an offer from his dear friend, Monsieur Bouc (Gavin Lawrence), of transport on his company’s train, the luxurious and now-legendary Orient Express. These two are joined by a quirky array of travelers.

British Colonel Arbuthnot (Ryan Artzberger) and Mary Debenham (Nastacia Guimont) are scheming about something in secret, yet not too covertly.

Samuel Ratchett (Ryan Artzberger in a second role) is a loud, rude American “businessman” who feels money can buy anyone or anything. Hector MacQueen (Aaron Kirby) is his overworked and oft-abused secretary.

Princess Dragomiroff (Dale Hodges), one of a number of exiled Russian royalty roaming about Europe, is traveling with a new companion, Greta Ohlsson (Callie Johnson) who has been serving as a missionary in Africa and is very unsure of anything.

The beautiful Countess Andrenyi (Katie Bradley) is traveling on her own. With her storied past, including a stint as a medical doctor, she intrigues everyone, including the elusive Poirot.

Also traveling on her own is the obnoxiously abrasive Helen Hubbard (Jennifer Joplin), an American who quickly gets herself on everyone’s “hit list.” Attempting to oversee all of this is Michel (Rob Johansen), the train’s French conductor.

Add to this a snowstorm that stops the train – right before a murder occurs – and you have a wonderful setting for a grand mystery. All passengers are accounted for at the time of the killing, or are they?

Anyone familiar with the character of Poirot knows that he is a quirky and particular personality. May adeptly explores as many facets as he can without frolicking into the territory of camp. His performance alone is worth the price of admission.

Artzberger does an exceptional job of playing vastly different characters with great aplomb. Guimont keeps her character a frigid distance from all but Arbuthnot, seemingly as a protective guise.

Joplin submerges herself into the typical “ugly American” so well, it is surprising that she is not the one who meets with the knife.

Hodges keeps the Princess as mysterious as her peculiar wardrobe. Johnson’s take on Ohlsson, the missionary, is wacky and almost overdone, but it does lend some lightness to the dark tale.

Kirby does an exceptional job of keeping his character sympathetic rather than just shady. Lawrence deftly keeps his frantic businessman persona from being entirely heartless, worrying equally about the safety of his passengers and the bad press a murder would bring to his luxury rail service.

Johansen shines both as the Conductor – not quite as minor a role as you’d first think – and his hilarious turn as the Head Waiter of Bouc’s restaurant in the show’s opening scene.

Bradley as the Countess enthralls us all, characters and audience alike, daintily dancing her way through the story never demanding but certainly drawing all attention available to her.

Christie’s story is a tale for the ages, especially with a twist ending that anyone unfamiliar with the book or movies will never see coming. Director Risa Brainin does a remarkable job keeping the soberness of the entire drama while allowing for its sharp wit, no doubt aided by Ludwig (known for farces like “Lend Me a Tenor”), to shine through.

The stage is a visual spectacle worthy of the legendary train, with designer Robert M. Koharchik placing elements of the sleeping and dining cars on an inventive rotating stage. This and projected elements by L.B. Morse give the proper sense of motion and help the scenes flow when the Express is stopped, maintaining the necessary tension. Even if you already know how it will eventually play out, it’s one exciting ride.

“Murder on the Orient Express” runs through March 29 at the IRT, 140 W. Washington St., Indianapolis (near Circle Centre). Call 317-635-5252 or visit irtlive.com.

Civic hosts Christie’s deadly countdown

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By John Lyle Belden

Set in the intimate confines of the Studio Theater, rather than its regular stage next door, the Booth Tarkington Civic Theatre invites you to look in on a classic mystery: See those 10 people at the party? They are all guilty of something, and one by one they will die. Who will be standing at the end? Are you sure you know?

The Civic presents Agatha Christie’s “And Then There Were None.” Director Charles Goad (who we are more used to seeing on the stage than behind it) has trusted his talented cast the freedom to bring out the dark humor in the play’s growing suspense. Even when a character is one you wouldn’t mind seeing become the next victim of “Mr. Unknown,” he or she is presented in an entertaining manner.

Matt Anderson and Christy Walker sharply portray the domestics who literally help set the scene in a fine house on an island off the English coast. Vera (Carrie Schlatter at her steadily unraveling best) thought this was just a job opportunity. Army Cpt. Lombard (Joshua Ramsey as a unflappable man proud of all his qualities, good and bad) was advised to bring his revolver, just in case. Anthony (Bradford Reilly, doing upper-class spoiled well) is up for any kind of adventure. Mr. Daniels – or is that Blore? – (Steve Kruze, working the fine line between gruffness and guilt) was, or is, a cop, making him impossible to trust. Retired Gen. MacKenzie (Tom Beeler, showing mastery of a subtle character) can see this for the final battle it is. Emily (Christine Kruze, working a stiff upper lip that could break glass) is as sure of her own innocence as she is of everyone else’s immorality. Dr. Armstrong (David Wood, becoming even more likable as we find the man’s flaws) feels he could really use a drink, though he doesn’t dare. And prominent judge Sir William Wargrave (David Mosedale in top form) knows a thing or two about unnatural death, having sentenced so many to the gallows.

The cast is completed by Dick Davis as Fred, the man with the boat.

These actors give a delicious recreation of the old story which doesn’t feel dated, considering a strong storm on a remote island would cut off smartphone reception just the same as past means of communication. The plot is propelled by the old poem “Ten Little Soldiers” (a more palatable version than the frequently used “Ten Little Indians” or its original, more controversial, title). Ten tin soldiers stand on the mantle, their number decreasing throughout the play as the victims accumulate. The verse is on a plaque by the fireplace, and reprinted in the program for us to follow along.

I don’t want to give spoilers, but bear in mind that Christie wrote more than one way to end the story. See for yourself at the Center for the Performing Arts in downtown Carmel through April 8. Call 317-843-3800 or visit civictheatre.org.