“A sharp, funny and genuinely gripping whodunit. The kind of show that reminds you why live theatre just hits different.“
Kicking off the theatre year with a show like this feels like a real win. Going in with very little knowledge of the story – aside from the promise of a murder, a famous detective, and some comedic moments – makes the experience even more exciting. It is the kind of production that leaves audiences leaving the auditorium energised and already looking forward to what else the year might have in store.
Ken Ludwig’s adaptation gets the balance just right. It’s witty and genuinely funny, but never at the expense of the tension that drives the mystery forward. The production knows when to make you laugh and when to make you lean forward in your seat, and it moves between the two with ease..
Mark Hadfield is a joy as Poirot. His performance is warm, sharp, and his comic timing is a definite highlight. One of the most memorable moments comes in the final act, as Poirot pieces together the truth behind the murder while the cast act out flashbacks around him in real time. It’s inventive, engaging theatre and theatrical storytelling that just would not work the same way on screen.
Across the board, the cast deliver strong performances, but Esme Hough stands out as Jacqueline de Bellefort. She is absolutely magnetic in the role and brings a layered intensity that elevates every scene she’s in.
The writing also deserves credit for how well it handles the show’s many suspects. Each character is carefully positioned to keep the audience guessing, with clever moments of misdirection that is tight and the payoff is satisfying. Even without prior familiarity with the story, it’s easy to stay engaged and invested in the mystery.
Visually, the production makes excellent use of the Festival Theatre stage. The set is both stylish and practical, allowing the action to move smoothly between locations without disrupting the flow. Sound design plays an equally important role, subtly building atmosphere and tension throughout. It’s one of those elements that might not always be front of mind, but it contributes significantly to the show’s overall impact.
Crucially, this is a production that feels very accessible. There’s no need to be a dedicated Agatha Christie fan to enjoy it. The storytelling is clear, the characters are distinct, and the world is easy to step into from the outset. At its heart, it’s simply an entertaining and well-crafted piece of theatre.
With a cast that clearly enjoys the material, thoughtful creative choices, and a script that keeps audiences guessing right to the end, this makes for a strong start to the theatre year.
Death on the Nile plays at Capital Theatre until 28th March. Tickets are available here.