Writer: Agatha Christie
Adaptor: Ken Ludwig
Director: Lucy Bailey
Even if you’ve never read one of her novels or seen a film or TV adaptation, you know what you’re going to get from Agatha Christie. It’s a format that has inspired generations of crime writers and spawned hundreds of spoofs, to such an extent that it’s easy to ignore, or forget, her genius as a storyteller. Ken Ludwig’s adaptation of Death on the Nile and this production directed by Lucy Bailey, manages to celebrate that storytelling, holding firmly to the original, while overlaying it with a gentle and knowing humour.
Linnet Ridgeway (Libby Alexandra-Cooper) is the beautiful heir to her father’s fortune, and like him, she’s showering the British Museum’s Egyptology department with donations. One of the perks of her philanthropy is a trip on an opulent Nile riverboat, accompanying the Curator who’s taking a loaned sarcophagus back to it’s home museum. Not only that, but it’s turned in to a bit of a honeymoon for her and Simon (Nye Occomore), her recently acquired husband. They’re joined on the boat by a host of characters – a number of whom have reasons for being aboard that are more than just a holiday, one of whom just happens to be the celebrated detective Hercule Poirot (Mark Hadfield), and one unexpected guest – Simon’s ex-fiancee Jacqueline De Bellfort (Esma Hough).
Right from the start of the trip it’s clear that there isn’t going to be much group bonding aboard, and it’s not long before there’s a murder. There are some obvious potential victims, but pretty much everyone seems to have some kind of motive, and Poirot steps in to investigate.
Mark Hadfield’s Poirot is an amiable charmer, a spirited and perceptive man with a twinkle in his eye, and a Belgian accent that falls just the right side of parody. There’s an easy and convincing feel to his interactions with other characters, particularly with Colonel Race (Bob Barrett), the MI5 agent on board to ensure the safe delivery of the priceless Egyptian artifact, but a handy man to have around in a crisis.
The counter-balance to the stolid, dependable Poirot and Col. Race, is Esme Hough’s Jacqui, showing all the signs of a spurned, vengeful and slightly unhinged woman. Hough gives the character a brilliant nervy, excitable and unpredictable edge. Glynis Barber’s Salome Otterbourne, the wonderfully attired, bohemian actress who brings the necessary old-time glamour to this stylish setting.
The production looks great. A simple, beautifully lit set (Mike Britton and Oliver Fenwick) consists sliding screens (they look simple, but are probably highly complicated in design and operation) makes a fine backdrop for wonderful costumes. Libby Alexandra-Cooper’s appearance in cream wide-leg trousers and an enormous hat drew a gasp of delight from members of the audience, and Glynis Barber wears layer upon layer of silk and chiffon with tremendous grace. There’s plenty of opportunity for Mike Britton’s costumes to shine with lots of changes from extravagant evening dresses to 1930s rich-people-lounging-about-on-a-boat-wear.
Direction is sharp and works perfectly with the set. Bailey uses the screens sparingly and effectively to reveal and conceal parts of the action, and scene changes, which could otherwise feel over-long, are incorporated well. There are a couple of moments of brief but wonderful dream-like/flashback choreography, particularly well used in Poirot’s summing up of the crime and how it happened.
Death on the Nile is a solid and enjoyable production, true in feel to the novel but tinged with a contemporary cosy-crime lightness. And if you don’t know whodunnit it will keep you guessing until the end.
Runs until 4 October 2025
