Murder on the Orient Express at the martini-Park: Great Crime Art in Augsburg


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A murder, a snowbound train, and Hercule Poirot on the trail
When the Orient Express comes to a halt in the snow, an equally thrilling and atmospheric stage experience begins at the martini-Park. In Agatha Christie’s most famous Poirot case, a passenger is murdered while each traveler harbors a secret and a possible motive. Only the Belgian master detective Hercule Poirot can piece together the contradictory statements into a complete picture.
Crime classic with great stage impact
The production by Andreas Merz is based on Agatha Christie’s novel and the stage adaptation by Broadway playwright Ken Ludwig. The dramaturgy condenses the enclosed space of the train into a tense chamber play: The crime scene remains unreachable, the suspects are stuck, and every new clue alters the perspective on the fellow travelers. Guessing along is explicitly part of the stage experience.
Acting between suspicion and deception
Klaus Müller portrays Hercule Poirot as a keen investigator whose powers of observation capture even the smallest contradictions. Julius Kuhn as Monsieur Bouc and a large ensemble guide through a web of class arrogance, fear, guilt, and undisclosed relationships. The audience's reactions thrive on this interplay of precise character delineation, dry humor, and growing threat.
Music, light, and the flair of the luxury train
Set design by Jürgen Lier and costumes by Veronika Bleffert bring the atmosphere of the historical luxury train to life. Stefan Leibold’s music expands the production with a mutable soundscape, while light and video elements accentuate flashbacks, hints, and perspective shifts. Yiddish, Serbo-Croatian, and Swedish singing interludes open the crime case to a multivoiced world, where cultural diversity and social tensions become visible.
More than a classic crime story
Behind the intricate manhunt lies a timeless question: What happens when law and justice fall apart? Especially in the finale, the production gains its ethical sharpness. Poirot's self-assured worldview wavers, and the refined whodunit transforms into a theater evening about guilt, retribution, and moral responsibility.
Conclusion: Visitors are in for an adrenaline-fueled stage experience with great acting, atmospheric set design, live music, and a dramaturgically skillful investigation. Those who love Agatha Christie or wish to experience a classic crime case as lively theater should board the Orient Express in Augsburg on November 14, 2026.
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