Murder, Mystery and Manchego: A Night on the Nile at New Theatre Cardiff
Last night the lights dimmed at the New Theatre, Cardiff, and the audience was swept away on a sultry cruise down the Nile (or at least a very convincing theatrical recreation of it) as the touring production of Death on the Nile docked for a five-night run. This adaptation, by Ken Ludwig and directed with flair by Lucy Bailey, brings the tangled web of secrets, jealousy and betrayal of the original mystery to vivid life.
At the centre of the storm is Hercule Poirot (embodied here by Mark Hadfield) and though his Belgian accent wobbled at times, his presence anchored the evening. Alongside him, Bob Barrett as Colonel Race proved an ebullient foil; the easy rapport between the two gave their scenes a warmth that contrasted by degrees with the creeping menace under-current aboard the steamer. And then there’s Glynis Barber, as the glamorous, slightly theatrical Salome Otterbourne, who carries enough stage-presence to light up even the dimmest corridor of that doomed cruise.
But Poirot, Colonel Race and Salome aren’t alone. The full cast includes Libby Alexandra-Cooper (Linnet Ridgeway), Nye Occomore (Simon Doyle), Esme Hough (Jacqueline “Jackie” de Bellefort), Camilla Anvar (Rosalie Otterbourne), Howard Gossington (Atticus Praed), Helen Katamba (Annabelle Pennington), Nicholas Prasad (Ramses Praed), and Terence Wilton (Septimus Troy) — with an ensemble including David Boyle, Max Dinnen and Nadia Shash. Their collective energy pays off: each suspect feels distinct, and enough tension is seeded early to keep you wondering “who did it?” almost until the final bows.
“it’s a voyage worth taking!”
Visually, the production is a treat. The set (furnished by Mike Britton) manages the clever trick of creating a convincing cruise-ship interior while still allowing room for eavesdropping, secrets whispered between decks, and climactic confrontations that feel both intimate and widescreen in scale. The costumes, lush and period-appropriate, help everybody from wealthy newlyweds to brooding ex-fiancées embody their secrets, regrets and rivalries under the harsh theatrical “sun” of the Nile.
That said (and it’s a small caveat) the production occasionally leans a little too hard on lighter, even comedic touches. For a story born of jealousy, greed and murder, some moments felt more softer than chilling. The darker menace of the original novel can sometimes wobble under this adaptation’s brisk pace and sometimes glib exchanges.
Still. For a night of theatre in Cardiff that balances glamour, atmosphere, suspense and a good old-fashioned whodunnit, all within a taut two-hour-and-change ride, this version of Death on the Nile delivers. With a capable cast, arresting set-work and enough intrigue to keep even seasoned Christie fans guessing, it’s a voyage worth taking!
Before the drama of the Nile unfurled onstage, our own Chris slipped below deck for a quick conversation with Mark Hadfield. In the calm before the evening’s chaos, Mark spoke warmly about his affection for performing in Cardiff, his admiration for the writer behind this adaptation, and the pleasure he takes in the script’s lighter touch — a humour that gives audiences room to breathe between the darker turns of the story. You can listen to their chat below.
To get your tickets for the voyage click here!
