Before I saw Rude Mechanicals’ production of “Murder on the Orient Express,” I had no idea what to expect. Somehow, despite the source material by Agatha Christie being so iconic, neither the plot nor the ending had been spoiled for me.

Going in, I had no preconceived notions of what this play should look like – and, like with all murder mysteries, I think that is the best way to do it. 

The play opens with a blinding blast of light from the stage, mimicking a train’s headlights, before diving into the show. Hercule Poirot (Ty Lam), a world-renowned Belgian detective, is traveling from Istanbul to London on the Orient Express, a train line owned by his friend, Monsieur Bouc (Fabian Rihl). Once aboard the train, a kooky cast of characters including the chic and dramatic Princess Dragomiroff (Bobby Currie) and the over-the-top Helen Hubbard (Olivia Sulisz) soon find themselves trapped when the Express gets stuck in a snowdrift.

Amidst the hubbub, a dead body is found with eight stab wounds. It’s Samuel Ratchett (Jax Coates)… or is it? Poirot is immediately on the case.

While the play is, at its core, a murder mystery, it is also a comedy. In the program, director Anderson Zoll says they “leaned into the humor and heightened theatricality” to give the show “a generous dose of camp.” And overall? I think they succeeded. 

As someone who didn’t know the plot before going in, it was a bit tough to follow at first because nearly every character has a different accent. A terribly tough task, to truck through the 100 minutes in an Irish, Russian or Swedish accent. But once the cast fell into stride, the show chugged along like a well-oiled machine. The Rude Mechanicals machine, perhaps. 

Part of what heightened the “campy” aspect of this production were the cheeky asides and musical transitions between some scenes. For instance, in one of the first scenes, a character remarks that Lam’s mustache “doesn’t even look real!” In response, Lam moves the open newspaper he is obviously hiding behind to give the audience a pointed look over the mustache that is, very obviously, fake. In one of the scene clearings, the ghost of Daisy Armstrong (Christine Chupailo) performs a beautiful ballet sequence; but in the context of the flippancy of everything else, it almost made me laugh. 

While the whole cast was great, Rihl, Currie and Sulisz stood out. With a healthy dose of physical comedy and almost-constant movement, Rihl really played into the stressed businessman who will do anything to keep his customers happy. Even when not speaking, Rihl’s reactions to other characters and their actions simply made so much sense; of course he would dust off the seats before someone sits down to be interrogated! Currie plays Princess Dragomiroff in drag, a choice that felt so natural it made me search whether the role was usually played in drag. And Sulisz, from using Michel the Conductor (Jaden Gonzalez) as a handrail to climb onto the train to singing show tunes to herself in a pink robe, drew some of the biggest laughs. The loud, dramatic American traveling solo, the character Sulisz played was both familiar and novel, and altogether magnetic.

Some of the more serious moments fell flat, but they were few and far between, and the play did wonders as a comedy. A good comedy immerses the audience in a world and lets them leave their worries at the door, if only for two hours. While the plot was interesting, it was ultimately the way the cast embraced their roles and “committed to the bit” that made it so enjoyable.