PLAY REVIEW: Death on The Nile ★★★

There is a stately confidence to this touring production of Death on the Nile, Agatha Christie’s whodunnit which has been given a theatrical life by adaptor Ken Ludwig, and directed with panache by Lucy Bailey. Set aboard a luxurious steamer boat, Mark Hadfield’s Hercule Poirot is an affable, with subtle comic presence, though the performance occasionally lacks the razor-edged precision the role demands, especially in the opening passage.

The ensemble, including Glynis Barber and Bob Barrett, commit fully to the melodrama, with Libby Alexandra-Cooper’s Linnet bringing fragility to the ill-fated actress. Yet, in condensing Christie’s intricate plotting, the adaptation trims away some of the novel’s psychological depth, leaving motivations feeling a little disheveled rather than fully immersive.

Visually, Oliver Fenwick’s lighting evokes the heat of Egypt and the creeping unease beneath it. Mic Pool’s sound adds an eerie tension as the production progresses, whilst the set is beautifully designed by Mike Britton, with the steamer boat spanning across two heightened set pieces, where the production leans into its glamour, inviting audiences into a world of wealth and resentment with aplomb.

Whilst the performances are pleasing, this production never quite achieves the suspense it tries to grapple you with. The final revelations arrive with a sense of urgency and a bit of whiplash to the steady plot devices prior, almost piercing the impact of Poirot’s deductions, especially when the writing sees him take a bit of a back seat. Still, as a lavish retelling in the design and costumes that keep you engaged, the production voyages with a steady ease.