Agatha Christie’s Death on the Nile is deliciously haunting- stunning audiences at the Lyceum Theatre from the 10th to the 14th of March. A collaboration between playwright Ken Ludwig and director Lucy Bailey, this spectacular adaptation of a much-loved classic is set to tour the UK and Ireland over the coming months. If the production’s first night in Sheffield is indicative of its success, then I predict Death on the Nile to have a triumphant and revered run.
Centred around the famed Belgian detective Hercule Poirot (Mark Hadfield), audiences are witness to themes of love, revenge and murder, as Simon Doyle (Nye Occomore) and his new wife Linnet (Libby Alexandra-Cooper) are followed upon their honeymoon by the former’s wrathful ex-fiancee Jacqueline (Esme Hough). A holiday cut short by a tragic death, Poirot sets out to solve the murder- but can he unravel the lies and various motives of Egypt’s peculiar guests in time?
Seamless and incredibly immersive, I found myself transfixed from the beginning to the end of the performance. Hadfield’s Poirot was nothing short of perfection- showcasing a flawless accent, a formidable presence, and a comedic flair, his portrayal was one to rival the great David Suchet. Addicted to his every word, the audience felt each emotion as he portrayed it; curiosity, surprise, anticipation, and anger. Every beat of his words intensified by the deep rumbling music of the set, his breaking of the fourth-wall was a potent addition. He was truly spectacular.
The deep contrast of light and darkness and the luminosity on the set of the boat, only contributed to the movie-esque atmosphere created on stage. Convinced I had stepped into an Egypt of the 1930s, the costume style, the music, and the set design was utterly flawless. The utilisation of props and space helped increase the tension of the story. The fear was tangible as we witnessed the victim’s final moments- shrouded in darkness, the enraged presence of the murderer became eerily discernible behind the wooden panels. Further, the movement from one scene to the next was seamless. There were no clumsy nor cumbersome moments, it was effortless and the audience remained in a starstruck reverie throughout.
One of the standout moments was the classic Christie ‘drawing room denouement’. Written to show the importance of past events, the actors performed their roles in rewind, offering a powerful review of the deception we had all been under. This was where the best performances emerged. Each actor was convincingly scared, under pressure, confused, and hopeful. The audience could not be restrained from the hearty round of applause they offered at the end of this electric performance.
This adaptation of Death on the Nile is utterly striking. Agatha Christie would surely be proud.
Rating: ★ ★ ★ ★ ★
