AGATHA CHRISTIE’S
MURDER
on
the ORIENT
EXPRESS
ADAPTED FOR THE STAGE BY
KEN LUDWIG
Pre-Show Preparation and Activities
Murder on the Orient Express Resource Guide
Table of Contents
COMMON CORE & NJ CORE STANDARDS
Pg 2
ABOUT AGATHA CHRISTIE
Pg 4
WEBSITE BASICS
Pg 4
READING MURDER ON THE ORIENT EXPRESS
Pg 5
READING COMPREHENSION
“A Brief History on the Orient Express”
Pg 5
HALLMARKS OF AGATHA CHRISTIE & MURDER MYSTERY
Pg 5
IN CONTEXT MURDER ON THE ORIENT EXPRESS
Pg 6
DESIGNING MURDER ON THE ORIENT EXPRESS
Pg 7
CREATING BACKSTORY
Pg 7
A THEATER REVIEWER PREPARES
Pg 8
GLOSSARY
Pg 9
APPENDIX
Pg 10-17
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Murder on the Orient Express Resource Guide
Common Core Curriculum & NJ Core Curriculum Content Standards
WEBSITE BASICS Murder on the Orient Express
8.1 Educational Technology: All students will use digital tools to access, manage, evaluate, and synthesize
information in order to solve problems individually and collaborate to create and communicate knowledge.
• Strand C: Communication and Collaboration: Students use digital media and environments to
communicate and work collaboratively, including at a distance, to support individual learning and contribute
to the learning of others.
• Strand E: Research and Information Fluency: Students apply digital tools to gather, evaluate, and use
READING Murder on the Orient Express
NJSLSA.R2. Determine central ideas or themes of a text and analyze their development; summarize the key
supporting details and ideas.
NJSLSA.R10. Read and comprehend complex literary and informational texts independently and proficiently
with scaffolding as needed.
READING COMPREHENSION- A Brief History on the Orient Express
NJLSA.R1. Read closely to determine what the text says explicitly and to make logical inferences and relevant connections from it: cite textual evidence when writing or speaking to support conclusions drawn from the text.
NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.
NJSLSA.R10.Read and comprehend complex literary and informational texts independently and proficiently with
scaffolding as needed.
RI.11-12.1. Accurately cite strong and thorough textual evidence, (e.g., via discussion, written response, etc.), to
support analysis of what the text says explicitly as well as inferentially, including determining where the text leaves
matters uncertain.
HALLMARKS OF AGATHA CHRISTIE & MURDER MYSTERY
NCAAS.Responding Anchor Standard #7. Perceive and Analyze Artistic Work
NCAAS.Responding Anchor Standard #8. Interpret Intent and Meaning in Artistic Work
NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.
IN CONTEXT Murder on the Orient Express
NJSLSA.W7. Conduct short as well as more sustained research projects, utilizing an inquiry-based research process,
based on focused questions, demonstrating understanding of the subject under investigation.
NJSLSA.W8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy
of each source, and integrate the information while avoiding plagiarism.
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Murder on the Orient Express Resource Guide
Common Core Curriculum & NJ Core Curriculum Content Standards
IN CONTEXT Murder on the Orient Express [CONTINUED]
W.11-12.2. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information
clearly and accurately through the effective selection, organization, and analysis of content.
NJSLSA.SL4. Present information, findings, and supporting evidence such that listeners can follow the line of
reasoning and the organization, development, and style are appropriate to task, purpose, and audience.
NJSLSA.SL5. Make strategic use of digital media and visual displays of data to express information and enhance
understanding of presentations.
DESIGNING Murder on the Orient Express
1.1.8.D.1 Describe the intellectual and emotional significance conveyed by the application of the elements of art and
principles of design in different historical eras and cultures.
1.3.2.D.1 Create two- and threedimensional works of art using the basic elements of color, line,
shape, form, texture, and space, as well as a variety of art mediums and application methods.
CREATING BACKSTORY
NCAAS.ConnectingAnchor Standard #11.Relate artistic ideas and works with societal, cultural and historical
context to deepen understanding
NCAAS.Responding Anchor Standard #8. Interpret Intent and Meaning in Artistic Work
A THEATER REVIEWER PREPARES
NCAAS.Responding Anchor Standard #7. Perceive and Analyze Artistic Work
NCAAS.Responding Anchor Standard #8. Interpret Intent and Meaning in Artistic Work
NJSLSA.R3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.
RL.11-12.3. Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or
drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed).
GLOSSARY
NJSLSA.L4. Determine or clarify the meaning of unknown and multiple-meaning words and phrases by using
context clues, analyzing meaningful word parts, and consulting general and specialized reference materials, as
appropriate.
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Murder on the Orient Express Resource Guide
ABOUT: Agatha Christie
Agatha Christie is the best-selling novelist in history,
outsold only by the Bible and Shakespeare. Known
throughout the world as the Queen of Crime, it was
during the first world war that Christie turned to writing
detective stories. Her first novel, The Mysterious Affair at
Styles was published in 1920 and over her lifetime she
wrote 66 detective novels, 150 short stories, 19 plays
and 6 romance novels under the pen name Mary
Westcott. McCarter Theatre Center is thrilled to be
producing the world premier of Murder on the Orient
Express, a work that now has 8 different adaptations,
including 1 radio drama, 2 cinematic versions,
3 television representations, and a computer game.
Image of Christie featured courtesy of Agatha Christie Limited.
WEBSITE BASICS
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MOTOE Character Profiles
MOTOE Synopsis
From The Agatha Christie Estate
Production Photos
The Lindbergh Kidnapping
Additional Reading
Additional Resources
Murder on the Orient Express Set Storyboard by Bewolf Boritt
• Hercule Poirot-Encyclopedia Britannica
• A Brief History on the Orient Express
After engaging with the resource materials found online, ask students to journal about their reactions to the
information provided with the following prompt:
Did anything you read or see particularly pique your interest in the play and production? Explain
your response.
• What incident, idea, or issue dramatized in the play most concerns or engages you intellectually?
Emotionally?
• On the first day of rehearsal director Emily Mann said that she’s excited about the balance between
“humor and suspense” that playwright Ken Ludwig brings to this adaptation of Murder on the Orient
Express. Given what you’ve read, where and how do you imagine humor and suspense might overlap in
the creation of this murder mystery on stage?
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Murder on the Orient Express Resource Guide
Reading Murder on the Orient Express
One of the most enriching ways to prepare for the production of McCarter’s Murder on the Orient Express––if
time permits––is by having your students read part or all of Agatha Christie’s 1934 novel. This will provide them
with both an opportunity to experience the story in its original literary format and to reflect upon the choices that
adaptor Ken Ludwig made and the craft he employed to bring the story to life on stage. Check out Murder on the
Orient Express at your local library or purchase it on the Harper Collins website HERE and on Amazon HERE.It is
also widely available on the shelves of many book stores.
Reading Comprehension:
“A Brief History on the Orient Express”
In preparation for experiencing Murder on the Orient Express have your students read the article “A Brief History
on the Orient Express” by David Zax, found in the APPENDIX. After reading it aloud as a class or independently,
utilize the article as practice for the reading comprehension of informational texts via the core curriculum aligned
READING QUESTIONS found in the APPENDIX.
Hallmarks of Agatha Christie and Murder Mystery
As evidenced by Christie’s 66 detective novels, though the stories are all different, each tend to follow a
certain formula. This formula includes hallmarks that the reader can track as they delve into the mystery, for example these hallmarks include a detective who arrives on the scene, often the celebrated Hercule Poirot, as well
as a settings that are closed and don’t allow for escape, a murder, characters that are unique, and many others.
When adapted for the stage, this formula serves the purpose of pulling the audience in as they try to piece
together the mystery at the same time as the characters on stage. Known to offer many red herrings
(misdirections), in her work, Christie enjoyed highlighting characters misleading and deceptive qualiities. These
false clues can trick the audience members and make the mystery even more difficult to solve.
In order for your students to follow the process of crafting a compelling mystery we encourage you to have them
complete our MURDER MYSTERY CHECKLIST found in the APPENDIX as they read, and see if they can track
the culprit of the Murder on the Orient Express before Hercule Poirot can.
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Murder on the Orient Express Resource Guide
In Context: Murder on the Orient Express
To prepare your students for Murder on the Orient Express and to deepen their level of understanding and
appreciation for the life, work, and cultural influence of Agatha Christie, have your students research, either in
groups or individually, the following topics:
AGATHA CHRISTIE
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Biography (Early Life, Family, Education)
Career/ Body of Work
“The Mysterious Disappearance of...”
The Golden Age of Mystery Fiction
Accolades, Awards, and Honors
HERCULE POIROT & FAMOUS PORTRAYALS
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Influences/ Enduring Popularity of Character
Novel, Short Story, and Radio Drama appearances
David Suchet (BAFTA nomination)
Peter Ustinov (6 times portrayl)
Sir Kenneth Branagh (2017 film adaptation)
HISTORICAL CONTEXT
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Europe in the 1930’s
America and the Great Depression
The Bolshevik Revolution, Soviet Union, The Great Purge,
The Orient Express-Origin, Routes, Place in Pop Culture
The Lindbergh baby kidnapping
KEN LUDWIG
• Biography (Early Life, Family, Education)
• Career
• Body of Work and Accolades
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Murder on the Orient Express Resource Guide
Designing Costumes for Murder on the Orient Express
For those only able to incorporate a partial reading of Murder on the Orient Express into your classes pre-show
preparation, we suggest utilizing Chapters 1-3, found online as a free sample on the Harper Collins website
HERE, as the basis for this activity. Ask students reading Chapters 1-3—or students reading the whole book on
their own—to pay close attention to the various character descriptions they come across in their reading.
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How does Agatha Christie choose to describe the passengers of the Orient Express? What words does she use?
What details does she choose to focus on for each character and how does it inform your understanding of them?
When and where does this story take place? How do we know?
How does the time period of Murder on the Orient Express inform the way characters behave? (This includes the
way they walk, talk, dress, and interact with other characters.)
Next ask your students to complete our COSTUME DESIGN WORKSHEET and generate a costume rendering
using the COSTUME RENDERING WORKSHEET for a specific character. A “rendering” is a physical sketch or
drawing that costume designers use as a part of their design process when creating an original costume for a
specific character, both found in the APPENDIX. If you choose to have students only study the excerpt of
Murder on the Orient Express, make sure to encourage them to use their imaginations when answering
questions about their character’s backstory.
Creating a Backstory
Part of what’s most notable about Agatha Christie’s Murder on the Orient Express is that is showcases a wide
variety of nationalities and cultural backgrounds. As you might imagine, their different lived experiences and the
comments they make based upon their assumptions of one anther is a basis for conflict throughout the play.
To prepare your students for encountering these unique internationally diverse characters on stage, we
encourage you to share both the CHARACTER PROFILES found online HERE and CHARACTER MAP with
them, which can be found in the APPENDIX. On this map each character from the play and their nation of origin
is indicated. When students recieve this map, assign them a character and have them do research on what it
might have been like to grow up in that character’s nation of origin in the late 19th / early 20th century. Then,
have them fill out a BACKSTORY CHART for their assigned characters.
After students fill out their backstory chart, conduct short in class character interviews where the teacher or
another student assumes the role of our detective, Hercule Poirot, and the students must answer questions
about their character in first person. Suggestions for interview questions can be found below.
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What is your name?
Where are you from? What was it like growing up in your country?
What is your occupation?
Why are you riding on the Orient Express? Where are you traveling to?
What is the first thing you plan to do when you arrive at your destination?
Do you have family where you’re traveling to?
How long have you planned this trip?
What is your impression of the Orient Express? Are you satisfied with these accomodations so far?
Do you feel safe traveling on the Orient Express? Why or Why not?
What are you most afraid of?
Have you heard anything about a murder that has taken place on the Orient Express?
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Murder on the Orient Express Resource Guide
A Theater Reviewer Prepares
A theater critic or reviewer is essentially a “professional audience member,” whose job is to report the news, in
detail, of a play’s production and performance through active and descriptive language for a target audience of
readers (e.g., their peers, their community, or those interested in the Arts). To prepare your students to write an
accurate, insightful and compelling theater review following their attendance at the performance of Agatha
Christie’s Murder on the Orient Express, adapted for stage by Ken Ludwig, prime them for the task by
discussing in advance the three basic elements of a theatrical review: reportage, analysis, and judgment.
• REPORTAGE is concerned with the basic information of the production, or the journalist’s “four w’s”
(i.e., who, what, where, when), as well as the elements of production, which include the text, setting,
costumes, lighting, sound, acting and directing (see the Theater Reviewer’s Checklist found in the
APPENDIX ). When reporting upon these observable phenomena of production, the reviewer’s approach should be factual, descriptive and objective; any reference to quality or effectiveness should be
reserved for the analysis section of the review.
• ANALYSIS is when the theater reviewer segues into the realm of the subjective and attempts to interpret
the artistic choices made by the director and designers and the effectiveness of these choices; specific
moments, ideas and images from the production are considered in the analysis.
• JUDGEMENT involves the reviewer’s opinion as to whether the director’s and designers’ intentions were
realized, and if their collaborative, artistic endeavor was ultimately a worthwhile one. Theater reviewers
always back up their opinions with reasons, evidence, and details. dfffffnngngngngngngngngngRemind your students that the goal of a theater reviewer is “to see accurately, describe fully, think clearly, and
then (and only then) to judge fairly the merits of the work” (Thaiss and Davis, Writing for the Theatre, 1999).
Proper analytical preparation before the show and active listening and viewing during will result in the effective
writing and crafting of their reviews.
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Murder on the Orient Express Resource Guide
GLOSSARY
Murder on the Orient Express takes place in 1934, on a train
filled with international passengers that starts in Istanbul,
Turkey, and journeys through the former Yugoslavia. For
this reason, the script is peppered with some language
and references that a modern American audience may find
unfamiliar. We encourage you to have your students
review the Glossary below and complete the attached
VOCAB WORKSHEET found in the APPENDIX.
Bucharest—The capital of Romania
Crisps—The British term for potato chips
Charleston-—A popular American dance of the 1920’s
Falafel—A deep-fried ball or patty made of ground chickpeas, fava beans, or both, it is a traditional Middle Eastern food.
Governess—A woman employed to teach and train children in a private household
Import-export—Relating to the business activity of sellings goods between countries
Istanbul—A city in Turkey of great historic and cultural signifigance
Potty—A British slang term meaning foolish or crazy
Ransom—A sum of money or other payment demanded or paid for the release of a prisoner or kidnapped person
Scotland Yard—The headquarters of law enforcement within Greater London, perhaps best known for its crime detection branch
Sofia­—The capital of Bulgaria, and a stop on the Simplon Orient Express Line
Telegram—A written message transmitted by telegraph using an electric device, that transmits or signals along conducting wires. The text is written or printed and delivered by hand or teleprinter.
Two-bit—Insignificant, cheap, worthless
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Murder on the Orient Express Resource Guide
X
I
D
N
E
P
AP
Image by Matt Pilsner of the full adult cast for Murder on the Orient Express and director Emily Mann in rehearsal
Created by McCarter Theatre Center. 2017.
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Murder on the Orient Express Resource Guide
Reading Comprehension Questions
“A Brief History on the Orient Express”
Read the Smithsonian Magazine
Article HERE
Paragraph 1-2
• Who came up with the idea of the Orient Express
• Define the word aura as used in “aura of mystery and intrigue”
• Where was George Nagelmackers visiting when he witnessed many innovations in railway travel?
Paragraph 3
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How many years did it take for the Orient Express to start running?
Why was there such a delay in its establishment?
Define the term wagon-lits.
In 1883 what was Istanbul originally named?
Who titled Nagelmackers’ wagon-lits the “Orient Express”
Paragraph 4-5
• On its first journey, from where did the Orient Express depart?
• Why was it clever of Nagelmackers to have shoddy, decaying old Pullman cars stand in contrast on
the tracks adjacent to the Orient Express?
• How did the Orient Express earn the nickname the “Spies’ Express?”
• The Orient Express had many high profile passengers, name one and retell the story of what
happened when s/he road the train.
Paragraph 5-6
• What symbolic role did the Orient Express play in WWI and WWII?
• What does the phrase “the pedigree of the train became rather complicated in later years” mean?
• Is it possible to take a ride on the original Orient Express today?
Paragraph 7
• What examples does the author provide to illustrate description of the Orient Express as a “rolling
symbol” of the economic disparities of its age?
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Murder on the Orient Express Resource Guide
Murder on the Orient Express
Murder Mystery Check List!
To better understand Agatha Christie’s trademark murder mystery form, as seen in Murder on
the Orient Express, check off each hallmark as you encounter it, and write brief descriptions of
the details of each feature.
A Closed Environment
_____________________________________________________________________
8 or 9 Characters—Each with Distinctly Peculiar Qualiities
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A Murder! The Inciting Incident
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A Detective Arrives to Solve the Mystery
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The Clues of the Crime
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Red Herrings­—multiple misdirections that trick the audience and make the murder harder to
solve
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Murder on the Orient Express Resource Guide
Costume Design Worksheet
Play Title________________________________________Character___________________________
Time Period_______________________Season____________________Time of Day_______________
Direct description of character from text:_____________________________________________________
__________________________________________________________________________________
__________________________________________________________________________________
Character’s temperament and personality (in your opinon): _______________________________________
__________________________________________________________________________________
__________________________________________________________________________________
EXPLAIN: How does your costume rendering express the following?
The historical period of the play? (How do the clothes/accessories tell us what time period he/she is living in?)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
The setting of the play? (How do the clothes/accessories tell us where he/she is?)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
The season of the year? (How can we tell what season it is due to what he/she is wearing?)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
The socioeconomic status and personality of the character? (How do the clothes / accessories tell us their wealth/
class?) ____________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
The mood and spirit of the character?(How do the clothes/accessories show the character’s mood?)
__________________________________________________________________________________________
__________________________________________________________________________________________
__________________________________________________________________________________________
On a separate sheet of paper you will turn in one design. Your final design should have: the title of the play, the
character’s name, your signature, drawn and colored in clothing, and descriptions of fabric inspiration for the
costume. (If students have access to fabric, they might consider attaching a sample fabric square.)
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Murder on the Orient Express Resource Guide
Costume Rendering Worksheet
Play Title:
________________________________
Character:
________________________________
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Character Map
Murder on the Orient Express Resource Guide
Created by McCarter Theatre Center. 2017.
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Murder on the Orient Express Resource Guide
Fill in this chart in conjuction with the Murder on
the Orient Express Character Map. Research your
characters country of origin and then imagine the
given circumstances for him or her by responding to
the questions below.
Character Backstory Chart
What is your name?
Where are you originally
from? (Country, Town,
Street)
What does your home look
like? Who lives there with
you?
What is the weather like
where you’re from?
What do you do for a job?
What are 3 adjectives
your friends would use to
describe you?
What do you want more
than anything in the world?
What are you most afraid
of?
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Murder on the Orient Express Resource Guide
Vocab Worksheet Murder on the Orient Express
1.) My __________________taught me a lot about reading, writing, and arithmetic.
2.) The __________________ read, “Hello STOP Our train has hit a snow storm and our
arrival might be delayed STOP See you soon STOP lots of love STOP”
3.) Mrs. Hubbard loves chick peas and was starving. Thankfully she remembered to pack pita and a ______________ to eat for dinner.
4.) The Orient Express departed from _______________, Turkey on a blustery snowy evening.
5.) The police detective at _______________ refused to pay a hefty ______________, and demanded for the release of the missing person.
6.) Don’t be ________________, you can’t eat _______________ and dip for an entire meal!
7.) The no good ________________ bulgarian henchman grew up in __________________ ` and was often dealing in shady transactions.
8.) Mary loved to party and have a good time, but her favorite part of attending a gathering was dancing the _________________.
9.) Dominic, who worked in the _____________ business traveled often to many different parts of the world.
10.) When vacationing in Romania we visited the beautiful city of______________________.
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Theater Reviewer’s Checklist
Adapted from Christopher Thaiss’ and Rick Davis’ Writing for
the Theatre (Boston: Allyn and Bacon, 1999), p. 45.
Use this form as an aid to prompt your memory and heighten your awareness before the play and after it when you sit down to write.
Production:
Date of Production:
Playwright:
Venue:
McCarter Theatre
Key √
Element
TEXT
Notes
Plot
Major characters
Main ideas/themes
Effectiveness of language
Other textual elements
Key √
Element
SETTING
Notes
Physical appearance
Materials
Style
Color
Relationship to theater’s architecture
Relationship to world of the play
Other scenic elements
Key √
Element
COSTUMES
Choice of period
Color
Materials
Style
Relationship to characters of the play
Other costume elements
Notes
Key √
Element
LIGHTING
Notes
Atmosphere created
Color choices
Style
Enhancement of/detraction from mood
Other lighting elements
Key √
Element
SOUND
Notes
Function of effects or musical score
Specific effects that support or compete with
action of play
Other sonic elements
Key √
Element
ACTING
Notes
Clarity of characterization
Vocal and physical work
Notable moments in performance
Sense of ensemble playing/acting
Other acting elements
Key √
Element
DIRECTING
Clarity of storytelling
Casting choices
Tempo and rhythm of performance
Composition of stage images
Other directorial elements
Notes