Theatre Review: ‘Death on The Nile’ at Arena Stage

There’s nothing that cures the mid-December blues quite like something cozy. We yearn for comforting things in our lives—a crackling fire in a fireplace, warm meals, and simple, recognizable stories. It’s a strange place to put the oeuvre of Agatha Christie whose work tackles mostly murder. Still, Hercule Poirot’s (Armando Duran) mystery-solving antics are so familiar to us that they give that same fuzzy feeling as a bedtime story. In tackling Poirot’s second most famous mystery, “Death on the Nile,” Arena Stage has caught that nostalgia perfectly, putting on a throwback with enough luxury to transform it into a classic.

…what a Christie production should be…a reminder of the majesty and simple joy of theatre…what makes Arena Stage’s show so wonderful is its simplicity and strength of execution.

The luxury shouldn’t be a surprise considering the novel takes place on a honeymoon cruise for one of London’s most fabulous socialites. Linnet Doyle, formerly Ridgway, (Olivia Cygan) is accompanied by her new husband, Simon (Travis Van Winkle), and a cavalcade of compelling tagalongs. The eccentric novelist Salome Otterbourne (Nancy Robinette), obsessive Egyptologist Atticus Praed (Robert Stanton), the fading film star Septimus Troy (Eric Hissom), Linette’s attorney, Annabelle (Felicia Curry), and, most suspiciously, her former best friend and Simon’s spurned ex-lover, Jacqueline De Belfort (Katie Klieger). As our detective mixes and mingles, simmering tension between Linette and most of the cruise’s passengers builds, all the while strange accidents start popping up, threatening the wealthy heiress. When Poirot finds the dead body of one of the passengers, everyone becomes a suspect.

It’s classic Christie with kooky characters, a plot focused on intrigue, and plenty of high melodrama of the upper class. Legendary playwright Ken Ludwig‘s script enriches that comfort, paring down Christie’s lengthy prose and pulling only the best elements out of the story. His changes highlight his strengths as a comedic playwright—injecting humor and energy into some of the play’s procedural lulls. In other works, direction from Arena Artistic Director Hana Sharif (who makes her surprising Arena debut) could be too static and classic. However, it is perfect for the source material. There is a sense that you could be watching a show produced in 1975, with all the warmth and joy that confers.

That would be if it were not for the stellar set and costume design. Alexander Dodge’s depiction of the Karnack flies, rotates, and rises from the stage, making a unique space for every single scene. This is impressive enough, but every nook and cranny is ornamented with some small detail, be it gold statuettes, elegant glassware, or fine China, adding to the feeling of luxury. The richness of those details pale in comparison to the sleek dresses, fine suits, and immaculate accessories by costume designer Karen Perry. In particular, a short scene celebrating the return of a beloved artifact to an Egyptian museum featured some of the most elegant chain mail dresses I’ve ever seen on stage.  

However, it is that comfort and joy which undergirds the show. Combined with Ludwig’s heightened emphasis on comedy, these feelings lull you into too much of a sense of security at times, making some of the more absurd twists feel like comedy moments. But the drama and heart is always there, underlying the play. In particular, the surprising romance between awkward Doctor Ramses Praed (Ryan Michael Neely) and sweet Rosalie Otterbourne (Sumié Yostukura) is a moment of earnest warmth that feels like a balm during the show’s more tense elements.

All in all, “Death on The Nile” is what a Christie production should be. It is a reminder of the majesty and simple joy of theatre. As exceptional as the bells and whistles are, what makes Arena Stage’s show so wonderful is its simplicity and strength of execution.