Agatha Christie is a name synonymous with crime fiction, perhaps the most famous, and her 1937 novel Death on the Nile is among her most notable. Adapted often for the screen and previously also as a stage play back in the forties, here Ken Ludwig brings a new adaptation to the stage, first performed in 2024 and arriving now at Royal & Derngate as part of an extensive UK tour. For this production from Fiery Angel, we return very much to the team that brought Ludwig's Murder on the Orient Express recently to the stage, including director Lucy Bailey. That was a solid adaptation, so, as we cruise the Nile, is it more of the same standard?
Heiress Linnet Ridgeway and her new husband, Simon, are on honeymoon aboard a luxurious boat cruising the Nile, their journey shadowed by a priceless Egyptian sarcophagus. Tension simmers among the eclectic mix of guests, including Simon's vengeful ex-fiancée, a watchful MI5 agent, the British Museum's enigmatic Egyptology curator, and Poirot himself, until inevitably, a body is found.
Mark Hadfield, this time, is the man to take on the reins of the famous detective, and here he presents a rather jolly version. Exhibiting little anger, often seen elsewhere, his jovial Hercule is cuddly and cute. Hadfield is therefore more likeable in the role than you might expect, but he still commands the stage, especially at the conclusion of the case. Hadfield does, at times, waver a little in his accent, and indeed, during this performance, there are a few stumbles on his lines. However, it remains a reasonable interpretation, if only because it is a little different.
Also, leaning towards the jovial nature is Bob Barrett's MI5 agent, Colonel Race, here on his own motives, but always willing to assist the famous detective, though hopeful that no more bodies will turn up.
Libby Alexandra-Cooper gives a captivating debut professional performance as heiress Linnet Ridgeway, and her distress at the constant presence of her new husband's ex is undeniably believable. As that ex, Jacqueline De Bellefort, Esme Hough is neurotic and unpredictable, exhibiting the physical traits of a woman spurned and desperate for revenge.
All of the cast are great in their roles, in fact, including the always reliable Glynis Barber as Salome Otterbourne, a glorious character name from Christie. Her overacting is ideally suited for the character, and she finds a perfect fit in Septimus Troy, played by Terence Wilton, in a world-weary persona, pining for success and wistful for days gone by.
Ludwig's adaptation does much of what he has done before, creating a pleasing-for-the-masses production of one of Christie's classics, but, as already hinted at, laying on the humour more than the thrills and danger. At times, in fact, it can lean more towards a parody of Christie than a straight adaptation, making fun of the essence that makes her stories great, including the famous denouement gatherings. For those also familiar with the story, quite a few liberties are taken with its telling.
Director Lucy Bailey generally keeps the story flowing. Still, some scenes drag on longer than needed, and the first half in particular could use a few minutes cut without affecting the story. The design by Mike Britton provides a visually appealing Nile cruiser with two levels, allowing action to play out in two locations simultaneously, including inevitable eavesdropping. Despite the look, however, it is a shame there is not more provided to give the set an authentic Nile location; this cruiser could at times be anywhere but for the imposing cargo of the sarcophagus. Even a different backdrop would have given a little more atmosphere than the bland, permanent rockface. Where the set disappoints in some areas, Oliver Fenwick's superb lighting makes an impact and creates atmosphere in the busy, occupied cabins.
Period is definitely well served, though, with the gorgeous costumes and styles in the show from costume supervisor Sarah Holland and hair and make-up from Elizabeth Marini. The cast looks resplendent throughout.
Death on the Nile is a perfectly acceptable and pleasing production. The name Agatha Christie is enough in itself to bring numbers to the theatre, and with Fiery Angel's production, there is sufficient material provided for an entertaining evening out. It is sad, though, that with such rich material, it couldn't be just a little more sublime and atmospheric.
A simple, yet entertaining, telling of the Agatha Christie classic.
⭐⭐⭐
Performance reviewed: Tuesday, 4th November 2025, at the Royal & Derngate, Northampton.
Death on the Nile is at Royal & Derngate until Saturday, 8th November 2025.
For further details about the Royal & Derngate and to book tickets, see their website at http://www.royalandderngate.co.uk
Production photos: Manuel Harlan
