Plymouth Theatre Review

Easy to Follow: 5

Family Friendly: 4

Must see: 4

Title: ‘Death On The Nile’

Venue: Theatre Royal Plymouth

Date: 19^th May 2026

Agatha Christies classic ‘Death On The Nile’ sailed into Plymouth last night on the final leg if its UK tour, in a production that feels lavish, intelligent and refreshingly modern, while managing to maintain the classic style and glamour that audiences have grown to expect from the Queen of the murder mystery. Whether you are a fan of Christie and the murder mystery genre or completely new to the story there is something in this show for everyone.  This production understands exactly what makes Christie’s stories endure: suspense, larger than life characters and the thrill of trying to solve the puzzle before Poirot does. Director Lucy Bailey clearly understood this, and result is a visually gripping evening of theatre that keeps the audience on its toes and invested in the action. 

For a story first published back in 1937, this adaption feels modern and fresh. The script (Ken Ludwig) is sharp, and the narrative fast paced and almost cinematic in scope, all while never losing the elegance of Christies original writing. Rather than feeling a bit dated or dusty, this version has a genuine charm about it, with high energy and momentum the audience are easily drawn into the story.  Even those familiar with the plot will find themselves caught up in it, it is familiar yet fresh, which can too often be a hard line to toe but here the juxtaposition between classic and modern works perfectly. 

At the centre of the action is Hercule Poirot, played with charm, grace and humour by Mark Hadfield. Hadfield delivers a standout performance as the famous Belgium detective managing to capture both Poirot’s eccentric traits, humour and razor-sharp intellect. There is a warmth and humanity to his portrayal that makes him endlessly watchable, and his scenes are some of the strongest in the production. His comic timing is spot on, but he also commands real authority when darker truths begin to emerge. He avoids caricature, which is so easy to fall into with such a well-known character, and instead portrays a thoughtful, humorous and quietly commanding version of Poirot that is recognisable and unique at the same time.  Another standout performance comes from the glamourous Linnet Ridgeway (portrayed by Libby Alexandra Cooper) whose performances balances sophistication, vulnerability and tension.  The production thrives on the chemistry between the characters and the cast as a collective do a fantastic job at bringing these colourful characters to life and portraying their emotions and relationship to each other to the audience. Every character feels distinct and full of purpose, ensuring the audience remain invested in each plot twist and revelation as the narrative progresses. Most importantly, the storytelling remains clear and engaging throughout. 

One of the productions biggest strengths is undoubtedly the set design. Mike Britton’s set is nothing short of spectacular, – an absolute feast for the eyes from the moment the curtain rises. The towering two level staging evokes both the grandeur and claustrophobia of a boat perfectly and allowed for scenes to flow seamlessly from one setting to the next, this production is nothing less than visually sumptuous and impressively ambitious in scale. It also enhanced the storytelling and for me is one of this production’s greatest triumphs. What truly elevates the production visually, is the movement of the set throughout the piece, with shifting set pieces and choreographed transitions that at times almost resembled dance sequences, executed with incredible precision by both the cast and crew. This coupled with the stylised movement of the cast themselves really sets the production apart visually. There is always something drawing the eye, always movement and atmosphere creating a cinematic rhythm that prevents the show from ever feeling static and in turn gives the production an elegance and contemporary feel than one might not expect from a Christie adaption. 

Bailey’s direction also deserves praise for maintaining tension and pace so effectively in this show, keeping the audience engaged through sharp and dynamic staging and a constant undercurrent of unease. It is all too common in murder mysteries that they become too exposition heavy, but this production largely manages to avoid this. The cast is showing us, not telling us, and I often felt I knew more of the characters from their movement rather than what they said.  The sound (Mic Pool) and lighting design (Oliver Fenwick) also played a huge part in creating the shows atmosphere. From subtle ambient underscoring to sudden jolts that made several people jump, the technical design here is also expectational.  

 ‘Death On the Nile’ is a slick, stylish and enjoyable evening of theatre. Packed with strong performances, creative visuals and plenty of suspense, it shows why Christie’s work endures and can still manage to capture audiences nearly 90 years after it was originally published. Whether you are a lifelong fan of Poirot or completely new to the story, this production will offer you mystery, spectacle,  visually inventive storytelling and an endlessly entertaining evening,  it’s a trip down the Nile that is very much worth taking! You can catch this at Theatre Royal Plymouth until 23^rd May 2026.

Reviewed by Ami Philpott

*Gifted – This theatre review was written following a gifted ticket to the performance. However, all opinions and views expressed in this review are entirely that of the reviewer and the review has not been influenced in any way by the provision of the ticket. Our commitment remains to provide an honest and unbiased assessment of the experience.