⚓️ Death on the Nile

Lucy Bailey’s direction was mostly clear and concise, though there were a few moments that left me scratching my head. The biggest “wait, what?” moment came right at the start of Act 2, when Salome finds the body. She looks under the bed on the side with no curtain (helpfully left open for the audience’s benefit), sees nothing, and then dramatically pulls back the curtain at the foot of the bed. But later, when Poirot enters, he just walks around to the open side and grabs the victim’s arm—no curtain pulling required. So… why couldn’t Salome see her? It’s a small thing, but one of those details that can quietly trip the realism wire. Scene transitions also felt a little sluggish, and overall pacing lagged—except for the very end, which picked up beautifully. I adored how the final scene mirrored the opening, tying things together neatly. However, Jacqueline coming onto the decking at the end felt like an unnecessary “moment” that didn’t add anything. Sometimes less is more! That said, the staging at the end of Act 1 was a standout—particularly that striking V-shape arrangement during Jacqueline’s big death moment. And the conclusion sequence, weaving in and out of the rooms with reenactments, was visually stunning.

Mike Britton's set design is a triumph of style and practicality, evoking the elegant world of 1930s luxury travel while keeping the storytelling fluid and dynamic. The dual-level structure and sliding veneer doors seamlessly transport the audience from the ship's deck to its cabins, giving the production an impressive sense of depth and motion. It's a set that feels alive-constantly shifting to mirror the secrets and shifting alliances at play on board. Every detail, from the polished wood tones to the clean geometry of the design, works in harmony to suggest both opulence and confinement. It's a visually striking environment that supports the drama beautifully and often outshines the script's slower moments.

Oliver Fenwick’s lighting was equally impressive. The contrast of warm and cold whites added a lovely sense of depth and atmosphere, especially during the night scenes. There were moments where the light subtly carved out emotional space on stage—something you don’t always notice until it’s gone. Mic Pool’s sound design hit the sweet spot: clear dialogue, balanced music, and no moments where I wished for subtitles or earplugs. That’s rarer than it should be in theatre sound.

The book by Ken Ludwig unfortunately, was the weakest link. The pacing dragged—especially in the museum scene, which felt about twice as long as it needed to be. Some lines added little and could have been trimmed without mercy. I don’t mind Act 1 ending with the murder (a classic choice for him), but the tension didn’t build quite enough to make us feel that moment. Act 2 was better, though it still didn’t quite reach full steam. Poirot’s “I know who did it” came a little too soon after only a handful of interviews, roughly 15-20 minutes into Act 2! And where, oh where, was the humor? I think I counted four jokes in total—two at the start and two at the end. That’s not a great laugh-to-death ratio. Ken Ludwig usually balances wit and suspense so well, but here the humor felt MIA. Even Poirot could’ve used a few more quips to break the tension.

Mark Hadfield (Hercule Poirot) was utterly charming—every gesture precise, every line delivered with warmth and intelligence. Bob Barrett (Colonel Race) brought a distinguished, commanding presence that grounded the production nicely. Libby Alexandra-Cooper (Linnet Ridgeway) gave a layered, emotionally resonant performance of a beautifully flawed woman. But the standout? Howard Gossington as Atticus Praed. Delightfully bumbling with just the right touch of menace—a joy to watch. With a few more comedic lines (that’s on Ken, not Howard), he could’ve absolutely stolen the show even more than he did.

Death on the Nile glides along on strong performances and impeccable technical design, even if its pacing sometimes feels more leisurely cruise than thriller. The production looks stunning and the acting- especially from Mark Hadfield and Howard Gossington-brings warmth and energy to the stage. While the suspense doesn't build as effectively as it could, even the show's elegant visuals and moments of genuine beauty doesn't make it engaging. In the end, it felt less like Death on the Nile and more like Dawdle on the Nile. And it never quite reaches the sharp tension of Christie at her best.