Writer: Agatha Christie
Adaptor: Ken Ludwig
Director: Lucy Bailey
Death on the Nile, a classic and timeless whodunnit sprang from the brilliant mind of Agatha Christie, one of the best murder mystery authors to ever put pen to paper. The story was finished in 1936, published in 1937, and now, 88 years later, it seems we still love retelling the story through the media of film and theatre.
As one might expect in a play that includes Hercule Poirot, the star of the show is none other than…Hercule Poirot. Played masterfully by Mark Hadfield, he commands the stage each time he is present, and even in his silences, the eyes are drawn to him, waiting for his next move, his next speech, or witty retort. Hadfield manages to not only sound like Poirot, with a fine interpretation of that legendary Belgian French accent, but he even shares the same physicality, having a short and unassuming stature that is sometimes overlooked and always underestimated by the folly of those who try to deceive him.
Another standout performer is Bob Barrett as Colonel Race, old friend to Poirot and MI5 agent (retired) on a mission of his own, but always eager to assist the legendary detective. His scenes alone on stage are few and far between, but fortunately, his shining moments are acting alongside Poirot, when their chemistry is fantastic, truly feeling like old friends who have been through tough times together many a time before. The humour and one-liners that cut through the ever-increasing tension of the second act are a welcome respite to an otherwise uneasy atmosphere as the mystery unfolds. The Colonel’s meta-commentary referring to Poirot’s previous cases is a great addition, with an occasional fourth wall break and nod to the audience to include us in the joke.
The rest of the ensemble are all admirable, playing their individual parts well, whilst also serving as stagehands, dressing and undressing a simple but highly convincing set in between scenes. Some of the cast have the additional task of replicating some of their previous scenes in the form of flashbacks, a task they accomplish so effectively it could have been mistaken for a recording on a projector screen. A special mention for Libby Alexandra-Cooper for her professional theatre debut, who is quite wonderful as Linnet Ridgeway.
The set used for this production is something rather special. The majority of the play takes place aboard the steamboat SS Karnak, the set needing to reflect all of the important areas of the vessel. This is accomplished with a series of large, slightly distressed shutters, through which, when closed, the audience can see only a hint of movement as the rooms beyond are being readied. When those shutters open, we are drawn into one of the many rooms on board. The use of two balconies is very clever: the upper and lower railings allow the characters to stand and converse, without the faintest clue that their conversations are being overheard from the other balcony. Designer Mike Britton and his team do a fantastic job with the set, especially the saloon, such an important part of the play, particularly during the climax, when the whole stage is utilised rather than the action being confined to the space between shutters.
Costumes and props, supervised by Sarah Holland and Sharon Foley respectively, help to set the tone of the performance, invoking the years and societal norms of the period. At a time when cruising the Nile was reserved only for the wealthy and the privileged, this is reflected in the grandeur and opulence of it all, with lots of gold and jewels, lavish outfits, and over-the-top accessories.
Overall, this is a magnificent production worthy of recognition alongside the other great interpretations of this classic tale. It remains loyal to its source material, which it brings to life for another audience to enjoy. Fans of the original text or any of the TV or film adaptations will find pleasure in this new telling, and this new Poirot: a chance to once again experience a night of murder and mystery sailing up the river Nile.
Runs until 8 November 2025 and on tour
