Review: DEATH ON THE NILE, Richmond Theatre - Tour
Photo credit: Manuel Harlan
Ken Ludwig’s latest stage adaptation of an Agatha Christie classic proves to be both compelling and entertaining, but without making any sort of lasting impression.
As with the recent film versions, Death on the Nile comes hot on the heels of last year’s touring production of Murder on the Orient Express, which was also directed by Lucy Bailey.
Unlike the trajectory of the movies, in which the follow-up failed to match what had gone before, this is a step up in terms of scale and dynamism.
First of all, designer Mike Britton’s set does well to capture the feel of a 1930s steamliner sauntering along the Nile. It makes full use of the space available and even incorporates a second floor.
Bailey’s direction keeps the pace steady, with moments of reflection built in, and is definite progress from the more static movement of Murder on the Orient Express.
But it is Esme Hough’s spirited portrayal as Jacqueline de Bellefort that has the most impact on this piece. She is hypnotic throughout and gives a stunning characterisation.
However, Death on the Nile is a murder mystery to be solved by the iconic fictional detective Hercule Poirot, played here by Mark Hadfield.
Hadfield lands the comic beats of the curious Belgian with ease, but struggles to play Poirot with the same gravitas and charm as others. There were also a notable amount of line fumbles on his part.
The rest of the company makes for a captivating watch. Bob Barrett plays Colonel Race, Poirot’s confidante in the piece, with good humour, while Libby Alexandra-Cooper excels as the effervescent Linnet Ridgeway.
Glynis Barber is perhaps the most recognisable name on the cast list and she is impressive as the delightfully-named Salome Otterbourne, lighting up any scene she is part of.
But ultimately, while this is a definite step up in quality for Ludwig in terms of his recent Christie adaptations, a more charismatic Poirot is required to elevate the overall standard of the piece. It is still an enjoyable and faithful adaptation.
*** Three stars
Reviewed by: Tom Ambrose