Death on the Nile
★★★☆☆ Pleasing
Festival Theatre: Tue 24 – Sat 28 Mar 2026
Review by Hugh Simpson
Agatha Christie’s legions of fans will surely be content with the touring production of Death on the Nile at the Festival Theatre to Saturday.
Ken Ludwig’s adaptation for Fiery Angel, like the previous Murder on the Orient Express, takes as its source a well-known and previously much-adapted text featuring the celebrated Belgian detective Hercule Poirot. Many of the audience will undoubtedly already know how it all turns out, but Ludwig and director Lucy Bailey have crafted a solid and reliable production that entertains and satisfies.
A scene from Death on the Nile. Pic: Manuel Harlan.
While some of the characters from the book have been eliminated or altered, there is still a large array of potential suspects for the murder that occurs on a Nile steamship. What is unusual for a whodunnit is how late in the production the death actually occurs, which means that even disclosing the identity of the victim would count as a spoiler for those unfamiliar with the story.
Ludwig has supplied a whole new section in the British Museum at the beginning, where the various characters and their backstories are introduced. This is done with some elegance, but it does lead to a lopsided production that has some problems with pacing in the first act. The snappier second act, where all of the detecting is done, works better.
considerable charm
The characterisation of Poirot is always going to be the most important part of any such play, and Mark Hadfield’s performance has considerable charm. It is a more puckish, almost cuddly Poirot compared to some of the more aloof and self-important versions of the past, but works very well.
Libby Alexandra-Cooper, Esme Hough and Nye Occomore acquit themselves admirably as the youngsters caught up in a love triangle. Bob Barrett and Glynis Barber are somewhat more expansive as Poirot’s old friend Colonel Race and the exuberant Salome Otterbourne respectively. Barber in particular is great fun, and well supported by Terence Wilton as the ageing actor Septimus Troy.
A scene from Death on the Nile. Pic: Manuel Harlan.
The rest of the cast (Camilla Anvar, Howard Gossington, Helen Katamba, Nicholas Prasad and ensemble members David Boyle, Max Dinnen and Nadia Prasad) give strong support.
It all has a pleasingly well-drilled feel, with Bailey and movement director Liam Steel providing effective tableaux. The denouement, which can so often appear awkward, is well-handled. There is, however, a rather knowing, overly artificial air at times that works against the tension and suspense that should be in evidence.
colourful costumes
Visually, the production scores highly. Mike Britton’s split-level set is imposing and highly adaptable. The evocative, colourful costumes are a particular highlight.
Mic Pool’s sound design and Oliver Fenwick’s pinpoint lighting, with shafts of light in an otherwise sepulchral setting, are both highly atmospheric, although at times both threaten to overshadow the rest of the production rather than enhancing it.
A scene from Death on the Nile. Pic: Manuel Harlan.
It is somewhat disappointing that Agatha Christie seems to have been co-opted into the ‘cosy crime’ genre, when her work has more bite than that (particularly in the depictions of class). The end result too often wants to reassure, and – aside from a couple of brief darker moments – there is nothing here that could remotely be called frightening.
There is much to enjoy, however, in an attractive and carefully staged production.
Running time: Two hours 20 minutes (including one interval)
Festival Theatre, 13/29 Nicholson Street, EH8 9FT
Tuesday 24 – Saturday 28 March 2026
Daily at 7.30 pm; Matinees Thurs, Sat at 2.30 pm
Tickets and details: Book here.
Tour dates: https://deathonthenileplay.com/
The cast of Death on the Nile. Pic: Manuel Harlan.
ENDS
