Death on the Nile - UK Tour - Nottingham Theatre Royal Review.

★★★☆☆

Death on the Nile is a classic Agatha Christie adaptation wrapped in an undeniably polished theatrical package. With an inventive set from Mike Britton and a cast packed with talent, this is a production that knows how to play to its audience. But in a genre that lives or dies on tension and precision, does this Nile-bound mystery truly grip, or does it simply drift along, content to just look the part?

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In this adaptation, a group of affluent people board the luxury cruise ship S.S. Karnak on the Nile with the intention of returning an ancient sarcophagus to Egypt, which has been on loan to the British Museum. The travellers are bound together as families, sponsors, romantic partners, and a plethora of other buried secrets. After Linnet gets trapped in the sarcophagus, a chain of events leads to a murder onboard the ship. Hercule Poirot is called upon to untangle the web of motives and alibis as suspicions shift, truths emerge, and he tries to piece the puzzle together. But the question of how he can bring the murderer to justice supplies the audience with one final twist. 

There is no denying that director Lucy Bailey understands the aesthetic of Christie. From the opening moments, the show establishes a smoky, atmospheric world that feels real and mysterious. For a moment, it feels like we are about to witness a production that fully understands how to build suspense. Mike Britton’s set is the production’s defining triumph: an inventive, fluid structure that transforms the stage into a convincing and dynamic riverboat. It doesn’t just house the action; it frames scenes with cinematic clarity and allows the narrative to move swiftly with visual confidence.

Similarly, Mic Pool’s sound design uses both music and soundscapes to give the play its time and location. These auditory cues add an interesting zest to the story, helping guide the audience along the journey. Oliver Fenwick’s lighting design is equally effective; whilst it is relatively simple, it guides the audience's eye and avoids distracting from the action on stage.

Libby Alexandra-Cooper (Linnet Ridgeway), Nicholas Prasad (Ramses Prased), Howard Gossington (Atticus Praed), and Mark Hadfield (Hercule Poirot). Photo Credit: Manuel Harlan.

However, “A feast for the eyes, but not for the mind,” might well be the best way I can describe what follows. While the show looks exceptional, it struggles to function as a compelling whodunit. The central issue is pacing… or more specifically, the production’s inability to control it. The first act feels exceptionally long, bogged down by exposition that lingers long past its dramatic usefulness. Instead of layering intrigue, the scenes feel heavy and static, with very little momentum to pull us deeper into the mystery. The audience waits for the story to begin, and by the time it does, patience is already wearing thin.

Then comes the second act, which swings violently in the opposite direction. Plot points are rushed, revelations arrive without sufficient build, and the resolution, the intellectual payoff that defines Poirot, is frustratingly undercooked. Poirot’s deductions lack the sense of discovery; rather than watching a genius mind at work, we are handed a conclusion that feels pre-packaged from out of the blue. The result is a mystery that doesn’t so much unravel as it simply… ends. 

A Christie narrative depends on tension, and the meticulous layering of clues, the sense that every line, every glance, every silence matters. This adaptation sacrifices complexity in favour of clarity, but in doing so, it strips the story of its weight. The stakes never feel urgent, the danger never feels real, and the consequences never quite land. It is telling that eagle-eared audience members will likely solve the mystery within the opening scenes; once the “Romeo and Juliet” parallel is introduced, the trajectory becomes glaringly obvious. And without the tension, a whodunnit is just a story with a corpse.

Nye Occomore (Simon Doyle), Mark Gadfield (Hercule Poirot), Bob Barrett (Colonel Race) and Howard Gossington (Atticus Praed. Photo Credit: Manuel Harlan.

At the centre of it all is Mark Hadfield’s Hercule Poirot. Hadfield brings charm, wit, and a clear affection for the role. His comedic instincts are sharp, and he works tirelessly to anchor the production. But Poirot requires more than charm; he requires authority. He must command the stage not just through presence, but through stillness, thought, and precision. Key moments that demand reflection are rushed, while scenes that could afford to move more briskly are allowed to linger. At one point, Poirot declares, “I know who did it”, with seemingly no preceding moment of thought or revelation. This line, which should land like a hammer, instead comes as a narrative convenience. Poirot appears to be less a master detective and more a vessel for delivering information.

Bob Barrett as Colonel Race was one of the standout performances of the evening. Barrett delivered grounded authority and natural humour, providing much-needed balance to the more serious murder-mystery moments. His relationship with Priorot was brilliant, serving as a sort of sidekick whilst remaining an important character in his own right. 

Nicholas Prasad as Ramses Praed was another undeniably watchable performance. Praed has crafted a character that feels fully lived-in and emotionally accessible. His nervous lover energy is endeering, whilst his more serious doctoral moments are informative without feeling like exposition. This is a performer who knows how to play the audience and, in doing so, draws them in.

Nye Occomore (Simon Doyle) and Libby Alexandra-Cooper (Linnet Ridgeway). Photo Credit: Manuel Harlan.

Libby Alexandra-Cooper makes her stage debut by delivering a confident Linnet Ridgeway. She makes the figure a clear and identifiable character type, even if the performance occasionally tips into melodrama. It feels dramatic and expressive, and brings a lot of energy to the stage. 

The final performance I really enjoyed was Camilla Anvar, who offers a refreshingly understated Rosalie Otterbourne. Her interpretation brings a genuine humanity to the character that cuts through the theatricality surrounding her.

Yes, this production has structural and tonal issues, but the production remains enjoyable. Death On The Nile isn’t trying to reinvent Agatha Christie or challenge its audience; its aim is to deliver accessible, crowd-pleasing theatre. And in that respect, it succeeds. The audience is engaged, the story is easy to follow, and the evening moves with enough charm to entertain, even if it doesn’t fully satisfy.

This Death on the Nile is a visually rich, competently performed adaptation. It looks excellent, it entertains reliably, but it lacks the precision, depth, and tension needed to elevate it beyond the text. Fans of Christie will find much to enjoy, but those seeking a truly gripping mystery may leave wanting more. If this play were a Nile cruise, it would be worth taking, but the sights you see might not be as impressive as those in the guidebook.