Be Transported to Egypt with a Classic Christie Mystery

Naomi MacKay watched Death on the Nile at Milton Keynes Theatre, where it runs until Saturday 18 October.

Some might say there is no value in watching a play where you know what happens – but theatre lovers happily rewatch Shakespeare plays – and Agatha Christie fans will think the same about this show.

Luckily, I can’t remember when I last saw the film/read the book and had completely forgotten the plot, so it was no problem for me – and my companion, who’s a huge Poirot fan, said it in no way spoilt her enjoyment.

The opening scene sees our protagonists at a party at the British Museum in the 1920s, which nicely introduces the characters. A shoutout here too for costume designer Sarah Holland and her wonderful period-style costumes, especially those of the female cast. 

The rest of the action takes place aboard a steamer as it cruises down the Nile, where one of our cast becomes the target of a murderous plot. 

As always, the famous Belgian detective Hercule Poirot must unravel the tangled motives, love triangles, betrayals, and hidden resentments among the passengers to identify the killer.

One of the standout features is the set design. Designer Mike Britton (with lighting by Oliver Fenwick and sound by Mic Pool) has created a multi-level, versatile set that evokes the deck, cabins, saloons, and hidden corners of a river steamer. Sliding doors, movable panels, and two decks allow characters to eavesdrop, cross paths, or hide – giving depth and dynamism to the visual storytelling. Clever lighting, along with sounds evoking North Africa, do a sterling job of transporting the audience from a chilly, drizzly Milton Keynes to the hot and humid banks of the Nile.

The first half of the show builds the tension admirably. Congratulations must go to Libby Alexandra-Cooper, who makes her impressive professional debut as Linet Ridgeway – her poise, presence, and nuanced transitions from confidence to vulnerability equal the far more experienced cast members around her. 

Mark Hadfield (Belfast; Outlander; Wallander) as Poirot brings a quirky, idiosyncratic energy to the detective. He handles much of the comic and eccentric side of the character with ease, though he did stumble over some of his lines.

Esme Hough as Jacqueline de Bellefort does a convincing job as the unpredictable and emotionally charged woman scorned, while Glynis Barber as Salome Otterbourne (Dempsey and Makepeace; EastEnders) offers glitzy theatricality and grand flair. She brings some well-timed comedy to her role, as does Bob Barrett (Murder on the Orient Express; Holby City) as Colonel Race, as he provides a reliable, engaging companion to Poirot’s investigations. The interactions between the Colonel and Poirot, in particular, brought several laugh-out-loud moments.

The second act, especially the denouement, does feel a tad rushed, as the revelations come thick and fast. But perhaps better that than making it too long and drawn out – it’s a fine balance to achieve.

This production of Death on the Nile is entertaining and ambitious. It excels in visual design, in immersive atmosphere, and in ensemble performances that bring vitality to Christie’s classic mystery. 

Book your tickets now at atgtickets.com/MiltonKeynes.