KEN LUDWIG'S MURDER ON THE ORIENT EXPRESS BY AGATHA CHRISTIE - Ocala Civic Theatre Non Equity Auditions

OPEN AUDITIONS
Monday, February 3
Tuesday, February 4

Reserve an audition spot.
Reserve Audition Spot

PRE-AUDITION WORKSHOP:
Sunday, February 2 at 6:30 p.m. (optional)
Register for the workshop here
Pre Audition Workshop RSVP

CALLBACKS: February 5
REHEARSALS: February 9 – March 19
PERFORMANCES: March 20 – April 6
DIRECTOR: Ray Ficca

ABOUT THE SHOW: In 1934, the famed Orient Express is hurtling from Istanbul through wintry western
Europe, with iconic detective Hercule Poirot among the passengers. The train becomes stuck in a snowdrift in
Yugoslavia, and morning reveals an even more chilling discovery: an American tycoon found stabbed to death
in his locked compartment. Over two terrifying days, Poirot investigates the eight suspects for this shocking
crime, following the tracks of blackmail and revenge to the tragedy of a murdered child. All aboard for this
classic murder mystery!

ROLES AVAILABLE: There are 10 roles (five men, five women).

• Hercule Poirot: Male, 50s-60s. The Inspector. Passport from Belgium. Occupation: Detective.
Meticulous and exacting, Poirot is a keen observer of detail and an astute judge of character. Certain
that the crime was committed by someone on the train, he confidently and patiently works his way to a
shocking solution.

• Samuel Ratchett/Colonel Arbuthnot: Male, mid-30s. A double role.
o Samuel Ratchett: Also Bruno Cassetti, the victim. Passport from the United States. A brusque
businessman. Unforgiving, with a threatening demeanor and a whiplash of a voice. He’s made
plenty of enemies… almost everyone has wished him dead.
o Colonel Arbuthnot: Passport from Scotland. Occupation: Colonel. Handsome and very matterof-fact. He’s hopelessly in love with Mary. Would he kill for her?

THE SUSPECTS
• Countess Eléna Andrenyi: Female, late 20s-30s. Passport from Hungary. Occupation: Royalty. She is
out of a fairytale, brilliantly beautiful and always dressed to the nines in furs and diamonds. She
seems too good to be true – but is she a murderer?

• Monsieur Bouc: Male, 40-50. Passport from Belgium. Occupation: Gentleman. A man of good humor,
he is an old friend of Poirot’s. He appears removed from the crime, often acting as Poirot’s sounding
board, but no one on the train is above suspicion.

• Mary Debenham: Female, late 20s. Passport from England. Occupation: Governess. An English
beauty, she bears a certain sadness in her eyes. When she first appears, she is very anxious. Perhaps
she is harboring a terrible secret.

• Princess Natalya Dragomiroff: Female, 60s-70s. Passport from Russia. Occupation: Royalty. She
enters her compartment “like a galleon in full sail.” Expensively dressed and handsomely bejeweled,
she certainly wouldn’t need to kill for money. But might she have another motive?

• Michel/Head Waiter: Male, 40s-50. A double role.
o Michel: Passport from France. Occupation: Train conductor. Good-looking and with a quiet,
almost grave sense of humor. He’s seen a lot in his years on the Orient Express, and he knows
his way around the train, making him particularly well-positioned to get away with murder.
o Head Waiter: Occupation: Head waiter on the Orient Express. Professional in demeanor, he is
knowledgeable and a bit overconfident. Mystery fans know it’s a cliché, but never rule out the
possibility that The Butler Did It.

• Helen Hubbard: Female, 50s. Passport from the United States. Occupation: Widow. Outspoken and
well-dressed with a touch of flamboyance, she’s a tough-talking broad with rough edges and a bold
sense of humor. She seems the least likely to commit murder, but is there something about her that the
others don’t know?

• Hector MacQueen: Male, 30s. Passport from the United States. Occupation: Personal secretary and
translator. Nervous, with a strained, rather beleaguered face, he appears to be suppressing
something. Perhaps he knows more than he is willing to tell.

• Greta Ohlsson: Female, 30s-50s. Passport from Sweden. Occupation: Nurse and missionary. Plain and
modest, she has a frightened, sheep-like quality about her. There is something odd about this woman.
Could she be harboring a deadly secret?

PRE-AUDITION WORKSHOP: There will be a free, optional, pre-audition workshop on Sunday,
February 2 at 6:30 p.m. Led by Greg Thompson, this practical workshop is ideal for both newcomers and
experienced performers to meet the show’s creative team, learn about the audition process, and practice your
monologue. Register for the workshop.
Pre audition Workshop RSVP

AUDITIONS & CALLBACKS: Auditions will be held on Monday, February 3 and Tuesday, February 4. It
is only necessary to attend one night of auditions. Please prepare a one-minute monologue. Reserve an
audition spot. For those who are called back, callbacks will be held on Wednesday, February 5 at 6:30 p.m.
You may check out a copy of the script from the box office for one week with a $10 refundable deposit.
Please call ahead to make sure a script is in stock. Scripts checked out the week before auditions must be
returned by 2 p.m. on Friday, January 31.

No experience is necessary. Newcomers and theatre veterans alike are welcome and encouraged to audition.
If you are unable to attend the scheduled auditions, please contact the Theatre at (352) 236-2274 about
making a separate appointment. Be prepared at auditions to list any conflicts with the rehearsal schedule.
If you need any specific accommodations to audition, please contact Craig James, Director of Guest Services
and Operations, at (352) 236-2274, ext. 102, or cjames@ocalacivictheatre.com to make your request.
Examples of accommodations made in the past are a wheelchair-accessible audition space, large-print
materials, prompters in the audition room, volunteers to help fill out forms, and auditions by appointment.

REHEARSALS & PERFORMANCES: Rehearsals will begin with a table read of the script on Sunday,
February 9. Rehearsals are Sunday through Thursday. Sunday rehearsals are 5:30-9:30 p.m., while Monday
through Thursday rehearsals are 6:30-9:30 p.m. Tech rehearsals are March 13-15, with an all-day tech
rehearsal on Saturday, March 15. Dress rehearsals are March 17-19. There will be 15 public performances,
Thursdays through Sundays, March 20 – April 6 at OCT.

DIVERSITY AND INCLUSION IN CASTING: As we strive to make choices that reflect the best of our
community, showcasing the incredible talent and rich diversity, there is always more to learn and more to do.
As members of this community, we prioritize our continuous education, reflection, and action. OCT is committed
to casting diverse artists who reflect the demographics of our city and our society.

OCT POLICY: All cast and crew ages 16+ will be subject to a background check. This is required for shows
with anyone age 15 or younger in the cast.

ABOUT THE DIRECTOR: Ray Ficca has been an actor, director, and producer in the Washington, D.C.
area for 35 years. With more than 150 professional productions to his credit, his regional theater highlights
include The Sunshine Boys, Unnecessary Farce, The Complete History of America (Abridged), Sylvia, Proposals,
The Underpants, The Cotton Patch Gospel, The Drowsy Chaperone, I Hate Hamlet; Bell, Book, and Candle;
Barnum; Red, White and Tuna; Honus and Me (Totem Pole Playhouse, Fayetteville, PA); Anything Goes (Olney
Theatre, MD); The Baltimore Waltz (Keegan Theatre, DC), Proof (1st Stage, VA), Laughter on the 23rd Floor
(Wayside Theatre, VA), Rough Crossing (Metro Stage, VA), Barefoot in the Park (Theater on the Hill, MD), How
to Write a New Book for the Bible (Round House Theatre, MD), Jacob Marley’s Christmas Carol (Next Stop
Theatre Co., VA), Tony ’n’ Tina’s Wedding (Mechanic Theatre, MD & Hanna Theatre, OH), Arsenic and Old
Lace (Way Off Broadway Theatre, MD), and Sleeping and Waking (Charter Theatre, DC). Ray has also
appeared in several films by noted sitcom director John Putch, including Route 30, Too!; Route 30 3, and The
Father and the Bear. Most recently, he reunited with John in Asheville, NC, for Hallmark Channel’s A Biltmore
Christmas, which premiered in November 2023. Ray served as Artistic Director of Totem Pole Playhouse from
2008-2013. He is the President of the National Conservatory of Dramatic Arts in Washington, D.C. Learn
more at rayficca.com.