★★★★

“Each performer is in tune with the requisite balance of light and shade – humour and suspense”

Agatha Christie’s Belgian detective, Hercule Poirot, has become one of the most recognisable figures in detective fiction, first appearing in print over a century ago. So popular was he, that when he died from a heart attack in the 1975 novel, ‘Curtain: Poirot’s Last Case’, Poirot was the only fictional character to receive an obituary on the front page of the New York Times. It is no surprise that the dignified and diminutive detective found himself portrayed in film by the likes of such heavyweights as David Suchet, Peter Ustinov and Kenneth Branagh.

Anyone who steps into his shoes has a formidable legacy to live up to. Mark Hadfield, in Ken Ludwig’s touring stage adaptation of “Death on the Nile”, slips into them comfortably. Stylishly directed by Lucy Bailey, the assumption is that the majority of the audience will know the story, so characterisation and atmosphere take centre stage, with the mystery sidelined to the wings. Bailey still manages to keep the suspense, opening with a London street scene in which two lovers are entwined in romantic complicity. Poirot watches on as the mist swirls. We are in film noir territory before Hadfield steps out of the shadows and speaks directly to us. A glint in his eye, and subtle inflections in his accent, are a tacit and conspiratorial directive not to take things too seriously. In fact, as the play progresses, we increasingly realise how adept Ludwig is at eking out gentle humour from Christie’s story.

A glittery party at the British Museum introduces the principal characters, before the action shifts to the Nile cruise ship. Designer Mike Britton leads us from land to water with impossibly slick dexterity on his two-tiered set. Slatted panels slide and shift revealing layers and secrets. There is an undercurrent of furtive activity behind the main action downstage. Mic Pool’s sound design mixes folksy Egyptian musical motifs with the lapping waves of the Nile and nighttime cries of wildlife; while Oliver Fenwick’s lighting follows the various moods with precision. Evoking the setting, too, are the costumes with their mix of muted beiges for the men and floating, art deco chic for the women.

The play moves at quite a pace. It is no spoiler to reveal that a gunshot closes act one while the discovery of a dead body introduces the second act. From here Poirot moves towards his conclusion in breathtaking time. Unusually, not everyone is a suspect – the detective has already narrowed it down a fair bit. That doesn’t prevent us from getting to know the delightful personalities that have followed each other (unwittingly or otherwise) onto the ship. Central to the piece are newlyweds Linnet (Libby Alexandra-Cooper) and Simon (Nye Occomore). Simon, unfortunately, was hitherto engaged to the furious Jacqueline de Bellefort (Esme Hough) who seems intent on some sort of revenge (but remember, all is not what it seems). Each performer is in tune with the requisite balance of light and shade – humour and suspense. Bob Barrett, as Poirot’s old friend and sidekick Colonel Race, is a delight to watch. Glynis Barber’s hack-writer-turned-ham-actress Salome provides wonderful comic relief. The cameos and ensemble are all as important as the lead players, but it is Alexandra-Cooper’s stage debut as Linnet that shines. A natural performer and a name to look out for.

A couple of clumsy moments are in danger of tripping up the otherwise slick flow, but the tour has only just set sail, and these will be ironed out in due course. Yet the confidence of the company steers it through its choppier moments. And the sense of fun is truly infectious. The customary denouement when Poirot calls everyone together for his summing up is greeted with derision by the characters as they momentarily break out of their roles. ‘I hate this part’, says Colonel Race. ‘I love it’ retorts Poirot. An epilogue, delivered direct to the audience, neatly gives us closure.

This interpretation of “Death on the Nile” has a style all of its own. There is only one verdict, really, and it doesn’t need a Belgian detective to spell it out. Go and see it for yourself. Et, viola… Mon ami!

ARTIFICIALLY YOURS at Riverside Studios

★★★

“We want to dig deeper into the shadows, but the writing is reluctant to explore far enough to flesh out the ideas that are bubbling underneath”

As I came out of the premiere of Aaron Thakar’s debut play, “Artificially Yours” I played a game with my smart phone. I don’t use Siri, which probably puts me in the minority of the population, but I decided to ask it some questions. Whilst it was able to give me factual details (my next appointment or my partner’s phone number for example), when it was asked something more abstract that required an emotional reaction, it merely answered with the words ‘that’s an interesting question’.

Thakar takes this notion a step further with his one-act play and, in turn, asks some interesting questions. It centres around an advanced AI device, called Agapé, that is not just a personal assistant but also one that can act as a relationship therapist to its bickering owners. Under Hannah McLeod’s slick direction, the narrative follows the effects this has on three different – though connected – couples as they navigate the usual hurdles that interrupt the smooth run of their affairs. Billed as a ‘dark comedy’ it yields some rich comic moments but never really explores the darkness. Agapé is given a bit of an underwritten supporting role here, and the piece often feels like just another sitcom. A perceptive one, nevertheless, which grapples with issues beyond AI’s limited capabilities of which the young writer has a mature grasp.

Agapé’s most accomplished skill is that of distinguishing a lie from a truth, and as such is more judgemental than its human counterpart therapist. But still the three couples decide to choose what they only want to hear. First up we have Pippa and Martin (Leslie Ash and Paul Giddings). Recently divorced, Martin is trying to get Pippa to agree to him introducing their daughter to his new girlfriend. Meanwhile Lilah and Ash (Destiny Mayers and writer Thakar himself) sport matching pyjamas but a clashing reliance on their artificial counsellor. Further clashes ensue when they go on a double dinner date with Ellie and Noah (Ella Jarvis and Jake Mavis). The connections between the six individuals are gradually revealed through disagreements, quarrels and occasional reconciliations: but no real resolve.

The cast spar well together, and while Thakar’s writing is thoughtful, we do often forget that Agapé is in the room as the characters’ idiosyncrasies take centre stage. Destiny Mayers is convincing as the frustrated Lilah who silently laments her partner’s reliance on artificial communication. As jobbing actor Ash, Thakar has the strongest arc which culminates in the play’s only distinct self-reformation. Leslie Ash’s Pippa makes the most of her underwritten mother-of-two. Ash excels, however, in depicting her internal tug-of-war between affection and disdain for her ex – equally convincingly illustrated by Paul Giddings’ Martin, wrapped up in his over-padded mid-life crisis. Ella Jarvis’ unhinged, overwrought Ellie and Jake Mavis’ maddening, fitness-fanatic Noah dish out the lion’s share of the laughs. Bordering on farce, the cast collectively manage to avoid artificiality.

Yet the serious questions, and the darkness that is teasingly dangled in front of us never really materialises. We want to dig deeper into the shadows, but the writing is reluctant to explore far enough to flesh out the ideas that are bubbling underneath. Yet we must remember (and just in case we don’t, we were reminded at curtain call) that this is Thakar’s debut as a writer and an actor. Depending on which way you look at this it can either be an excuse or a celebration. I lean towards the latter. In its own way it is quite an achievement. “Artificially Yours” might not yet be his hallmark, but Thakar has made his mark and, in time, is someone to watch out for.

Tag Archives: David Boyle

DEATH ON THE NILE

★★★★

UK Tour

DEATH ON THE NILE

Richmond Theatre

★★★★

“Each performer is in tune with the requisite balance of light and shade – humour and suspense”

DEATH ON THE NILE

Richmond Theatre then UK Tour continues

Reviewed on 9th October 2025

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

THE 39 STEPS | ★★★★★ | April 2024

DRACULA | ★★★ | March 2022

DEATH ON THE NILE

DEATH ON THE NILE

DEATH ON THE NILE

ARTIFICIALLY YOURS

★★★

Riverside Studios

ARTIFICIALLY YOURS at Riverside Studios

★★★

“We want to dig deeper into the shadows, but the writing is reluctant to explore far enough to flesh out the ideas that are bubbling underneath”