Review: Agatha Christie’s Death on the Nile at The Alexandra Theatre, Birmingham

★★★★

Based on Agatha Christie’s Death on the Nile, this Hercule Poirot tale is adapted for stage by writer Ken Ludwig, and directed by Lucy Bailey. When a couple board a luxurious Egyptian cruise during their honeymoon, they come face to face with jealousy, conflict, and betrayal. Their idyllic honeymoon is soon cut short following a murder onboard, and it is up to world-famous detective, Hercule Poirot, to uncover clues, untangle a web of lies and deceit, and solve another crime.

Starring Mark Hadfield (Belfast; Outlander; Wallander) as Poirot, Libby Alexandra-Cooper as the glamorous Linnet Ridgeway, Nye Occomore as her newly-wed husband Simon, and Esme Hough as Jacqueline De Bellefort, this brand-new adaptation of the Agatha Christie classic follows the sell-out success tour of Murder of the Orient Express. They are joined on stage by: Glynis Barber (Dempsey and Makepeace; EastEnders) as Salome Otterbourne, and Bob Barrett (Murder on the Orient Express; Holby City) as Colonel Race, as well as Camilla Anvar, David Boyle, Max Dinnen, Howard Gossington, Helen Katamba, Nicholas Prasad, Nadia Shash, and Terence Wilton.

A story that weaves Egyptology’s myths into the mystery, Death on the Nile sees romance walk hand-in-hand with treachery, narrated along the way by Poirot’s dry wit and observational humour.

The set design itself, created by Mike Britton is simple yet very effective, making great use of lower and upper sections of staging to create the illusion of decks and cabins. A visually shadowy production, Lighting Designer Oliver Fenwick helps hide secrets in the darkness onboard the cruise ship, while Mic Pool’s Sound Design featuring the hushed swell of waves, bird songs, as well as decadent party music, draws viewers to the waters of the Nile.

Costuming (Sarah Holland), and wigs and make-up (Elizabeth Marini), add another layer to the show’s visual appeal with glitzy 1930s dresses, Egyptian-inspired wear, and dapper suits. Juxtaposed with the glamour of these high society characters too is the conflict, choreographed by Movement Director Liam Steel and Fight Director Phillip D'Orleans, creating scenes of high action that culminate in the murder that becomes the centre of this investigation.

The production is slow to start, and much like Christie’s novels is rather wordy in the scripting. However, the plot soon picks up pace, building motives and suspicion, tension and suspense before leaving audiences on a tantalising cliff-hanger as the curtain falls for the interval.

A clever adaptation that balances mystery and intrigue with humour. Poirot frequently offers moments of dry comedy that pull on foreshadowing and direct references to Christie’s large body of work in moments of intertextuality. His running narration allows audiences to follow the clues alongside the detective before the truths are finally revealed with great flourish.

This is a production that will surely be enjoyed by devoted fans of Agatha Christie, as well as casual viewers of the various adaptations of the author’s works that have graced screen and stage over the years. As Hercule Poirot himself admits: “I like an audience, I must confess…”

Agatha Christie’s Death on the Nile plays at The Alexandra Theatre, Birmingham until Saturday 11^th April.  

This review was written following a press invite to the production.

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