DAZZLING STAGE ADAPTATION OF A MYSTERY CLASSIC

By Trisha Cusack ⭐⭐⭐⭐⭐ | Press Invite

When adapting beloved novels for a new medium, there is always an element of risk involved. Will they remove plotlines, how will characters translate on stage, and will Hercule Poirot’s mustache be big enough? Those are all questions I had as I took my seat at the Richmond Theatre during the press night of Ken Ludwig’s adaptation of the Agatha Christie classic, Death on the Nile.

This new stage production, written by theatre veteran Ken Ludwig and directed by Lucy Bailey, brilliantly captures the cosy crime feel of Agatha Christie’s work. While there were some plot and character changes from the original novel, that didn’t detract from the delivery of the main storyline – a positive for any adaptation.

We are introduced to the famous Hercule Poirot, played by Mark Hadfield, in the opening scene. Hadfield’s Poirot is convincing, with his little quirks made a little more theatrical in a way that translated well for stage. Could his moustache have been bigger? Perhaps. But overall, Hadfield portrays the renowned detective with charisma. I also appreciated his little narrations to the audience, setting the frame for the story we were about to witness.

Like most murder mysteries, the first act builds a foundation of characters and narratives that keeps you on your toes throughout. Gasps were appropriately made by the audience when it is revealed that the stunningly rich Linnet Ridgeway stole her best friend Jacqueline’s fiancé, Simon. While they try and enjoy their honeymoon, the cast of eleven characters cleverly distract and misdirect the audience from the growing threat of danger aboard the SS Karnak.

The inclusion of the many side characters’ storylines was very well done, providing the comedic relief. Glynis Barber particularly dazzled as the gregarious Salome Otterbourne. Bob Barrett’s Colonel Race is very affable. While slightly more jovial than the Colonel Race of the books, in a way that is more reminiscent of Poirot’s other recurring character Hastings, he and Hadfield displayed a great chemistry in their scenes together.

The staging and production was impressive. The changing of the set between rooms and floors of the boat was smoothly executed, making the riverboat setting more convincing to the audience than I had expected. Between the set, costumes, and music, the glamour of the era was well captured.

Despite this adaptation changing some parts from the original book, one didn’t feel any major gaps thanks to the clever writing that landed well on stage. In fact, I didn’t even realise the changes until I went back over the novel’s plot. Importantly, they kept the famous Poirot monologue where we discover who is behind all the treachery. While Hadfield did unfortunately trip over his lines quite a bit during this part, the Belgian accent helped to cover it up. As a result, it didn’t detract from the moment too much. The mystery was suitably unveiled, with a dramatic finish.

All in all, Death on the Nile is a thoroughly enjoyable evening out. A strong cast, fantastic staging and quality writing makes up for any stumbles along the way. Ultimately, this is a comedic tragedy centred on a love story spiked with betrayal, greed, and a murder – what’s not to love.

Death on the Nile is currently touring around the UK.

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Photo Credit: Manuel Harlan