Agatha Christie’s mysteries are a staple of the page, stage, and screen, but once we know ‘whodunnit,’ why do we watch them again? The great attraction of a mystery is, after-all, the mystery.
Murder on the Nile is Agatha Christie’s stage adaptation of her own novel, Death on the Nile, and many people would have experienced the story in the past, likely through one of the thirteen billion BBC adaptations. But don’t let that stop you from enjoying it again.
When a beautiful and wealthy heiress and her new Husband join a luxurious paddle steamer on the River Nile, they run into past acquaintances seemingly by coincidence. Joined by an eccentric old crone, an emotionally volatile doctor, and a communist aristocrat, rising tensions on the claustrophobic steamer in the Egyptian heat eventually leads to murder. With no one able to leave, the murderer must still be on board. Can they find the killer before they kill again?
The current production at the Genesian Theatre attempts to be a fresh take on this old classic, keeping the story engaging even if you know the outcome. Staying true to the original setting and plot, solid direction by Theo Hatzistergos along with an energetic cast really balances the mystery, drama, danger, and humour in equal measure.
Embedding comedic relief within the most dramatic moments, rather than drawing attention to themselves, was the right choice. It kept the play from becoming too serious while maintaining suspense. I particularly enjoyed Miss Ffoliot-ffoukes’ self-centred reaction to the news of a murder in the room adjacent to hers; ‘but they could have murdered me!’ The role was played wonderfully by Sandra Bass.
The rest of the cast was also superb and everyone seemed well-suited to their character. David Stewart-Hunter as Canon Pennefather commanded the stage with a perfect mixture of scoundrel, advisor, and detective. There were a few moments where the cast seemed to forget a line, but their ability to improvise and roll along until they got back on track was respectable and never caused me to fall out of the story. I doubt most people in the audience even noticed.
The set was a simple but grand depiction of the steamboat’s public parlour, with the ever-present statue of Anubis, God of the Underworld, watching over the cast whilst foreshadowing murder. The audience had a good chuckle as a pot-plant was pulled along in the background to signify the paddle steamer was on its way down the Nile, which I asume was intentionally fun.
The feeling of ‘cabin fever’ intended by Mr Hatzistergos by limiting the set to the public parlour worked well, and also saved the story from losing momentum during a potentially lengthy scene change. The sound design added atmosphere, from the crowds of Cairo to the engine of a steamer on the water. Gunshots and light effects literally made the audience jump out of their seats in fright. Much to their delight. The costumes too, were suitable for the 1950s time period and social standing of the characters.
The audience around me were totally hooked. Those who didn’t know the story were constantly whispering to each other about who they thought was going to be murdered, and then who did the inevitable murdering. You can’t help but appreciate encouraging this kind of engagement. Those who already knew the story enjoyed the strong performances and cheeky humour, along with Agatha Christie’s wonderful dialogue, making this journey down the Nile just as much fun as the destination.
Even if you know whodunnit, you’ll still enjoy this classic tale of jealousy, conspiracy, and murder. Murder on the Nile is currently playing at the Genesian Theatre in Sydney until the 21st of September.
Season: 10th August – 21st Sept 2024
Preview night 9th August
Friday and Saturday nights at 7.30pm
Sunday matinée at 4.30pm
Running Time: 2hrs 15mins including 20min interval
https://www.genesiantheatre.com.au
