Law was already familiar with the mysteries of Agatha Christie, having seen the original 1974 film, directed “The Hollow” while a professor at High Point University and produced “And Then There Were None” at the Charlotte Theater. “I also like his play ‘The Mousetrap’.”
“Fulfilling a mystery,” Law said, “like solving one is making sure you follow all the clues and the actors understand them as well. You need to be aware of any steering errors and make sure that actors don’t give anything that they’re not supposed to do. ”
He noted that Ludwig’s adaptation “presented theaters with many challenges.” The locations are changing from a hotel in Istanbul to the city’s train station, to four locations on the train, including three adjacent compartments.
“We use music, sound effects, lighting effects and projections to enhance the storytelling,” he said. “It is also a period piece – 1934 – with all the costumes, make-up and hairstyles of the time.
“In addition, when dealing with an emblematic character like Hercule Poirot, you have to take into account the expectations of the public. A lot of research has been done to recreate this “genius sleuth,” including his habits, clothes and attitudes, “Law said.
A dialect trainer, Leah Roy of Wake Forest University, guides the cast through French, British, Hungarian, Russian sound and the distinct sound of America’s Minnesota.