Hercule Poirot exercises his little grey cells again in Agatha Christie’s Death on the Nile, adapted for the stage by Ken Ludwig.
A gathering of guests is on a riverboat on the Nile, returning a sarcophagus from the British Museum back to Egypt. It’s a perfect place for plotting.
Although Poirot (Mark Hadfield, who adds flickers of humour to the short, fussy Belgian detective) is on holiday, someone is in fear, and by the close of act one, someone is dead.
You’ll know the formula of these mystery stories by heart. There’s a cheeky nod to this being a play as Poirot introduces himself to us and states that Shakespeare “isn’t a patch on Agatha Christie”.
It’s that kind of play. There’s a doctor, a military man, an archaeologist, a secretary, an heiress, an ageing actor, a would-be actress (and her daughter), a land agent and a woman scorned.
This is the cast of characters that make up the mainifest of Death on the Nile. The location, aside from the opening scene, is set on board in a two deck structure, perfect for overhearing conversations and observing behaviour.
Linnet (Libby Alexander-Cooper in her professional debut), the young heiress, is both spoilt and nervous and is first seen in a shimmering gold gown. The moth to the flame.
With a knowing sense of dialogue and tongue-in-cheek flashes of humour, Ludwig’s script and Lucy Bailey‘s clever direction do justice to a book that is perhaps following a well-worn path.
Bob Barrett’s Colonel Race is a fine companion for Poirot, amusing and forthright. Terence Wilton’s old-timer (“I just want to play Hamlet again!”), and Glynis Barber’s dilettante (“I’m studying Cleopatra”) make a fun pairing on the sidelines.
There are plenty of suspects for the grisly murder and numerous clues that M Poirot notices through the first half. There’s enough for us to complete the puzzle, but the fun is in the watching.
Designer Mike Britton and lighting designer Oliver Fenwick have crafted a intricate set with sliding doors and panels on two levels to reveal different areas of the riverboat.
It also serves to highlight key moments in the final reveal of ‘whodunnit’, where scenes are repeated and actions revealed.
Characterisations add colour to the story: Camilla Anvar‘s Rosalie’s determined pursuit of Nicholas Prasad’s Dr Ramses; Esme Hough’s nervous Jacqueline; Helen Katamba’s bustling Mrs Pennington; Howard Gossington’s dedicated curator; and Nye Occomore’s fickle Simon.
It’s an entertaining couple of hours of deduction, escapism, and crime-solving. Little touches help, like Poirot scuttling off to comb his moustache before the guests are assembled and the merry theft of a trinket from the murder scene.
Keep your eyes open. You’re never safe, even on water, when the little Belgian (not French, as the audience gasp last night reminded us) is around.
A solid 3 stars for this.
Death on the Nile is at Richmond Theatre until Saturday, then continues on tour: details here.
Read a syndicated interview with Hadfield, Barrett, and Barber here.
Image credit: Manuel Harlan