Directing Murder: Ron Ziegler’s Journey to the Orient Express
Written by Guest Director, Ron Ziegler
Rehearsals are in full swing for Agatha Christie’s Murder on the Orient Express. While there is still a journey ahead, the early signs are promising—there is a great sense of chemistry among the cast, and everyone is eager to explore every nuance of this classic narrative.
But before I go further, I should probably introduce myself. My name is Ron Ziegler, and I am honored to serve as Guest Director for this production. My involvement in theatre spans over forty years, primarily in community theatre, where I have held roles as theatre manager, program manager, and director. My directing experience extends across the country and internationally. In the latter part of my career, I worked as Festivals Coordinator for the American Association of Community Theatre (AACT) until my retirement (such as it is) in 2022.
My relationship with AACT began as a volunteer and eventually led to a small Quincy connection: I served on the AACT Board of Directors with Barbara Rowell, who later invited me to Quincy to adjudicate the regional theatre festival in 1997. It is a pleasure to return.
Now, back to the play. I’ve been a fan of a good murder mystery since—well, ever since I can remember. Few names evoke the intrigue, atmosphere, and cunning twists of detective fiction as Agatha Christie. Her 1934 novel, Murder on the Orient Express, is perhaps her most beloved work, featuring, of course, the inimitable Hercule Poirot, a snowbound luxury train, and a baffling murder. For decades, this story has captured the imagination of readers, filmmakers, and, more recently, theatre audiences. In 2017, Tony Award-winning playwright Ken Ludwig crafted an adaptation of Christie’s masterpiece for the stage, blending his signature wit and theatrical flair with Christie’s intricate plotting. That’s the version you will see at Quincy Community Theatre.
Ludwig takes a few liberties with the story in order to keep it intimate enough to exist on the stage. His adaptation pares down the cast a bit (creating a few composite characters) and streamlines the plot without sacrificing the story’s heart. The sense of growing tension is still there, as is the intrigue—and Poirot is as quirky and brilliant as ever. Mix in Ludwig’s sense of humor, and we have a clever retelling, absolutely true to the texture of the novel.
This stage adaptation of Murder on the Orient Express is an engaging journey filled with suspense and wit. It illustrates the genius of Agatha Christie’s storytelling and serves as a reminder of the unique thrill and emotion that only live theatre can provide.