Agatha Christie’s Death on the Nile opens with the stage hidden behind a curtain, which slowly rises halfway to reveal the opening scenes in a wide-screen style that immediately feels cinematic. With great lighting, strong atmosphere and the sarcophagus front and centre, it sets the tone perfectly from the off.
Mark Hadfield’s Hercule Poirot fits the bill exactly as you’d imagine him from the books – a brilliant mix of humour and seriousness that never feels forced. He’s clearly having fun with the role, but there’s always a weight behind the performance when it matters. He works especially well alongside Bob Barrett as Colonel Race, who brings plenty of humour and a real stage presence, cracking jokes and adding warmth while still switching effortlessly into more serious moments when needed. The wider ensemble is consistently strong too, with everyone getting their moments and the group dynamic working really well throughout.
The story itself is gripping from start to finish. Even knowing the twists going in didn’t take away from the enjoyment – if anything, it made it more impressive how well everything still landed.
The staging plays a big part in that. It isn’t until the action moves onto the boat that the curtain lifts fully to reveal the impressive two-level set, which then becomes the base for some really clever visual storytelling. Clever use of slatted screens shifts focus almost like frames in a comic book, guiding your attention to key moments and conversations, while the split-level design makes it feel like you’re watching characters overhear exactly what they need to in real time to drive the mystery forward.
There are also some really smart visual touches, with partial views through the screens creating dream-like sequences or subtly showing what characters are discussing without pulling focus away from the performances themselves. It’s all very cleverly done and adds to the atmosphere rather than distracting from the story.
Pacing is spot on. It never drags, and the interval arrived before I even realised how much time had passed. There’s a great balance between tension, drama and lighter moments too, with plenty of laughs alongside genuine edge-of-the-seat scenes. The whole production keeps its energy all the way through.
Death on the Nile is cleverly staged, brilliantly performed and hugely enjoyable from start to finish. Whether you’re a long-time Christie fan, love a good whodunnit, or just enjoy strong, easy-to-watch theatre, this one’s well worth seeing.
Agatha Christie’s Death on the Nile is at Cheltenham’s Everyman Theatre until 7th February. Tickets are available here
