Death on the Nile, adapted from Agatha Christie’s iconic mystery novel, really delivers that classic whodunnit vibe she’s known for. We follow Hercule Poirot as he tries to piece together the murder of wealthy heiress Linnet Ridgeway, who’s killed during her honeymoon aboard a Nile steamer in Egypt. With practically every passenger harbouring some kind of motive, the tension builds around jealousy, greed, and long‑buried grudges. The combination of sharp character drama and the sweeping Egyptian backdrop makes the whole mystery feel even more atmospheric.
What’s especially impressive is how Death on the Nile has lived so many different lives over the years, being adapted for theatre, film, TV, radio, and even video games. It’s one of those stories that keeps finding new audiences, which says a lot about just how enduring Christie’s work really is.
Mark Hadfield steps into the role of Hercule Poirot brilliantly, he’s charming, funny, and captures that perfect blend of sharp sleuthing and effortless humour. Speaking of comedy, Bob Barrett is equally entertaining as Colonel Race. The two of them are like two peas in a pod, bouncing off each other with great timing and sharing some genuinely laugh‑out‑loud moments. Glynis Barber as Salome Otterbourne was another standout; her comic delivery had the audience in stitches.
I really enjoyed how much comedy was woven into the suspense. At its core, it’s still a murder mystery, but the humour adds a welcome lightness without taking anything away from the tension.
A special mention has to go to Libby Alexandra‑Cooper, who plays the entitled Linnet Ridgeway. Death on the Nile marks her first professional theatre debut, which is mind‑blowing because she was the standout star for me. Absolutely fantastic. She is the epitome of the role. The aura she brings the moment she steps on stage is incredible, there could be ten other cast members up there, but as soon as she appears, all eyes are drawn to her.
Esme Hough also deserves huge praise for her portrayal of Jacqueline De Bellefort. She completely masters the role of a complex, tragic antagonist driven by obsessive love, fierce jealousy, and sharp intelligence. At times she was genuinely intimidating and even a little scary to watch, which is exactly what the character demands.
Camilla Anvar as Rosalie Otterbourne, Howard Gossington as Atticus Praed, Helen Katamba as Annabelle Pennington, Nye Occomore as Simon Doyle, Nicholas Prasad as Ramses Praed and Terence Wilton as Septimus Troy all deliver strong performances, each bringing their own energy and layers of suspicion to the story. Every one of them adds depth, tension, and believable motives for murder, helping to round out the ensemble and keep the audience guessing.
The set was absolutely fantastic. Mike Britton’s design turns the stage into a stylish, multi‑level version of the S.S. Karnak, and it’s incredibly clever in how it shifts from one space to another. The sliding panels and layered structure make it feel like you’re watching different parts of the ship come to life without ever slowing the pace. The lighting and sound design work beautifully with it too, warm glows, deep shadows, and atmospheric effects that instantly transport you to Egypt. Together, they create a sense of mystery, heat, and danger that wraps around the whole production and really elevates the tension.
Like the S.S. Karnak preparing to depart, Death on the Nile makes its final voyage from Theatre Royal Brighton on Saturday 4th April. Evening performances set sail at 7:30pm, with mid‑voyage matinees at 2:30pm on Wednesday and Saturday, your last chance to step aboard before the mystery disappears into the sunset.