Death on the Nile tour review – choppy waters in Poirot show on stage

Queen of crime Agatha Christie is the best-selling fiction author of all time and one of her most beloved characters of Hercule Poirot is set deep into our national psyche. Endless adaptations of her work range vastly in quality, but Ken Ludwig’s adaptation of Death on the Nile proves to be a solid production with just enough intrigue to keep you guessing.

Ludwig and director Lucy Bailey, along with set designer Mike Britton, have form with Christie’s books, having worked on the generally well-received Murder on The Orient Express 2024 tour. Death on the Nile follows the tried-and-tested formula of a murder with many suspects, solved by the Belgian detective in a glamorous location.

Heiress Linnet Ridgeway and new husband Simon are on honeymoon aboard a luxurious boat cruising the Nile, along with a priceless Egyptian sarcophagus. Among those on board is an eclectic mix of people, including Simon’s ex-fiancée, an MI5 agent, the curator of the British Museum’s Egyptology department and Poirot himself.

Unsurprisingly, a body is found and there are several people with a motive to kill. Debt, broken promises, infidelity and fraud are all at play and there’s only one man who can solve the mystery. Ludwig has stripped back the original version to concentrate the story and it flows well.

The experienced Mark Hadfield is an amiable Poirot, never entirely helped by wobbles to his Belgian accent, but paired well with old friend and MI5 agent Colonel Race, played by an ebullient Bob Barrett. Libby Alexandra-Cooper makes an assured professional debut as an imperious Linnet Ridgeway, whose fear at those around her starts to break through the surface. Nye Occomore, as her new husband Simon, shows rapid adaptation to his newly acquired wealth. Completing the love triangle; Esme Hough is nicely unpredictable as the spurned Jacqui, exuding real distress and pain at her betrayal by both Simon and her old friend Linnet.

The rest is the cast is strong support. Glynis Barber’s wonderfully named Salome Otterbourne brings some old-school glamour to proceedings, with a blustering Terence Wilton making a rather reluctant paramour as actor Septimus Troy.

Director Bailey maintains a decent flow, with only the occasional scene outstaying its welcome. There is some danger in the air prior to the murder, but overall the production lacks some of the dark menace contained in Christie’s writing. This and several comedic moments mean the show can stray into cosy crime territory.

The production looks fabulous. Britton’s multi-functional set is impressive, particularly for a touring production. The steamer has two decks, allowing characters to eavesdrop on each other, while clever use of sliding slated screens also reveals several cabins, a salon and a breakfast room, as well as the British Museum itself. Sarah Holland’s wonderful costumes give vividly accurate period style to the show, with luxurious fabrics, lush colours and gorgeous tailoring.

A fun and entertaining show that will hopefully settle more into its rhythm as the tour progresses. And if you don’t know whodunnit, your little grey cells will be buzzing until the end.