Foolish decisions I made in my youth (heavily censored – the actual 3am rumination stuff, I’m not ready to talk about…)

• dropping A-level History for A-level Psychology just because History class was first thing on a Monday and well…Psychology wasn’t (turned out I was a much better historian than the exam board deemed me to be a psychologist)
• spending two weeks in Kavos.
• giving White Lightening cider a go
• deciding that you had to pick a side – if you were Team Marple, Poirot was a no-go.
• again, spending two weeks in Kavos.

In the grand scheme of the fictional murder mystery genre, it’s time for my confession (there’s always a inexplicable full explanation confession – ‘not guilty’ as a response doesn’t appear to be a viable path in this world).

Any reference I have to the wonderful world of Agatha Christie is in the televisual and film offerings. I have shamefully not read the books. There, I’ve said it.

And so amongst my favourite stories, on film, is Death on the Nile. Even though, (EVEN THOUGH young, foolish, me), it’s a Poirot vehicle.

Now I have nothing against our little Belgian detective and his little grey cells etc. I just refer you back to my very black and white dodgy decision-making of my youth. Team Marple.

I refer to the 1978 version, with the stellar cast, including Peter Ustinov, Bette Davis, Mia Farrow, Maggie Smith, David Niven and so on and so forth.

The story – just like the deliciously devilish Murder On the Orient Express – is set amidst a journey and it is this claustrophobic setting where characters meet (in some cases), are reunited (in some cases), but are essentially forced together as one, which provides the perfect trigger for tension, resentment and murderous intention (we’ve all been on the metrolink at rush hour so, you know).

And so, we come to this latest adaptation of the story, in this case for the stage by Ken Ludwig…

Bitter rivals. Buried secrets. A love to die for.
On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder. As secrets that have been buried in the sands of time finally resurface, can the world-famous detective, Hercule Poirot, untangle the web of lies and solve another crime?

From the same creative team who brought us the brilliant Murder on the Orient Express – The Lowry last year, this production, directed by Lucy Bailey, had, unsurprisingly, much of the same energy.

Starring Mark Hadfield as a joyous Poirot, Glynis Barber and Bob Barrett, we were transported back to a cosy, comforting (yes I know, with a touch of murder) world in the past of glamour, high society scandal and stiff upper lips, all aboard a paddle steamer within the mysterious land of the Pharaohs.

As is the tradition of great story-telling, the first half takes us on a scene-setting literal journey as we meet the characters, learn of their connections, begin to compile a mental dossier of potential motives and finally the pre-interval pinnacle of the hour, the murder.

As with Murder on the Orient Express, the set design is exquisite yet practically efficient, with literal moving parts. We’re afforded a cross-section view of the ship, which allows us full access and views of communal gatherings and settings, whilst teasing us, on some occasions, with surreptitious glimpses into cabins and suspicious behaviours, with a clever and somewhat beautiful use of lighting and cast shadows.

The early ominous omnipresence of the golden Mummy’s casket centre stage, adds to the theme, one of juxtaposing glamour and death, and for all intents and purposes serves as a crucial member of the ensemble cast.

And speaking of, there was a pleasing synergy, as the actors sparred their way through the, sometimes camp, sometimes tongue-in-cheek, but always wittily delivered dialogue which set the scene for murderous intent, convincing us of fractious relationships within which motives could lie.

Now, I couldn’t decide whether bringing my knowledge of already knowing whodunnit to the party would dampen my experience. And I assure you it didn’t. Taking my own ‘mummy’ (ahem) along for the ride who obediently came in blind with an open mid, ready for the cast, the production and indeed our little Belgian detective to take her on a journey of tall tales, plot twists and revelation, I was pleased to see that the production provided an equal amount of entertainment to both the initiated and uninitiated.

Indeed whilst the perpetrator may have been known, this adaptation brings fresh energy to the story, injecting its own ideas and elements, whilst being faithful to the essence of Ms Christie’s classic tale. Catch it while you still can.

Death on the Nile is on at Lowry theatre until Saturday 4 October, before setting sail on a nation-wide tour. Visit Death on The Nile | What’s On | Lowry for further details.

For full details of the clever cast and creatives, please visit Death on the Nile on stage. UK Tour 2025 / 2026

Production images credit: Manuel Harlan