Nottingham Theatre Royal – until Saturday 18th April 2026
Reviewed by Louise Ford
4****
The Crime is murder
Is Agatha Christie having a revival? To be fair, I’m not sure that she has ever gone away, fashions change and interpretations of her work and the emphasis sometimes explore darker themes, but in essence they are jolly good whodunnits! Yes, back to my favourite theme, the cosy crime. Well, the clue is in the title, we are in Egypt and there has been a death.
In some ways, the problem with staging a book (or probably a film adaptation) as well-known as Death on the Nile is that everyone already knows whodunnit. So the trick to success is to bring something new or interesting to the production. In last night’s production, it was the glorious staging. The story was adapted for the stage by Ken Ludwig and lovingly directed by Lucy Bailey. The set design is by Mike Britton, with minimal fuss and distraction. We are effortlessly moved between the soirée at the British Museum and the gloriously opulent SS Karnak. I did wonder how the Nile would be recreated in Nottingham. The lighting is designed by Oliver Fenwick, and it creates both mood and drama. The Nile is reflected in the shadows and reflections. The lighting is enhanced by the sound, designed by Mic Pool. There is a gentle lapping of the water and animal cries, as well as the shocking gunshots.
Alongside the set are the glorious costumes, Sarah Holland. We are firmly set in the late 1920s, in an era entranced by Tut-mania. The stunning evening gowns, the tailored suits and the linen suits all evoke a bygone age. The inclusion of a fabulous golden mummy adds to the glitz of the story.
In this production, there is a vein of humour which brings the audience in and breaks the fourth wall. At times, the actors address the audience directly to express their frustrations or fears. The storylines of the minor characters add to the plot and build up the tension. A few red herrings are uncovered along the way.
The production retains the main characters from the original book but has pared back some of the scenes and characters. The whole production moves at quite a pace.
I cannot believe that I have got so far into this review without mentioning everyone’s favourite Belgian (not French) detective, Hercule Poirot. In the production, Poirot is played by Mark Hadfield. Poirot is presented as a dapper chappie with a modest moustache and a slight Belgian accent! He has a great stage presence and his friendship and interactions with Colonel Race (Bob Barrett) are playful. They have great chemistry. Colonel Race is everyone’s affable uncle.
For me, the star of the show was Salome Otterbourne, played by Glynis Barber. Her costumes are glorious and whilst she’s clearly on the make and is quite happy reinventing herself, she is also amusing and has a strong stage presence. Her daughter Rosalie (Camilla Anvar) is not as sophisticated as her mother but is in her own way on the make with her pursuit of Ramases Praed (Nicholas Prasad).
Whilst Poirot is undoubtedly the main draw, the three individuals in the love triangle provide good, strong performances. As well as having some outstanding costumes. Jacqueline De Bellefort (Esme Hough), as the spurned lover looking for revenge, is perhaps a little melodramatic, but adds to the mix. The object of her love is Simon Doyle (Nye Occomore), who is quietly handsome but hapless in equal measure. The brash American heiress, Linnet Ridgeway, is perfectly played by Libby Alexandra-Cooper.
So all in all, an enjoyable evening’s entertainment which doesn’t require us to overuse our little grey cells.