Agatha Christie

Death on the Nile

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Reviewed by Matthew Forrest

Opening Night verdict ⭐⭐⭐

As the nights grow darker and winter edges closer, many of us start daydreaming about a spot of winter sun. Would Devon be charming this time of year? What about a glamorous rail trip across Europe, or a cruise along one of the world’s most iconic rivers — the Nile, with its breath‑taking views of the pyramids and whispered secrets of ancient Egypt? Just one warning: if a gentleman with an outrageous Belgian accent and an even more impressive moustache joins your party, consider changing your plans immediately as chances are high somebody on board won’t make it home!

Following the success of last year’s Murder on the Orient Express tour, writer Ken Ludwig and director Lucy Bailey return with another thrilling Agatha Christie adaptation, and once again, everyone’s favourite Belgian detective, Hercule Poirot, is at the heart of the mystery.

Death on the Nile sees Poirot (Mark Hadfield) and a host of high society types take a trip down the Nile on the luxurious, S.S. Karnak, as the party returns a sarcophagus which has been loaned to the British museum. Amongst the party is wealthy museum benefactor Linnet Ridgeway (Libby Alexandra-Cooper) and her husband Simon Doyle, (Nye Occomore) celebrating their honeymoon.

Also in attendance is Doyle’s former fiancée, Jacqueline de Bellefort (Esme Hough), who was also best friends with Linnet till she ‘stole’ her fiancé. Poirot’s friend Colonel Race (Bob Barrett) is also on board, as is renowned British thespian Septimus Troy (Terence Wilton), and his companion, former novelist turned aspiring actress Salome Otterbourne (Glynis Barber). Salome’s daughter, Rosalie (Camilla Anvar) has joined the trip along with Doctor Ramses Pread (Nicholas Prasad) and his father, British museum curator Atticus Pread (Howard Cossington). Finally, there is Annabelle Pennington (Helen Katamba), a business associate of Linnet.

As the paddle steamer makes its way down the Nile it is apparent that one passenger has made a few enemies and when they end up dead it’s up to Poirot to untangle the web of lies and crack the case.

Sometimes the trouble with some adaptations of Christie’s more famous works is that you are so familiar with them that you already know who the killer is. I’ve seen at least three different film/tv versions of Death on the Nile, which may have some slight differences yet ultimately the mystery elements remain the same, which is the same here. What Ken Ludwig’s script does so well is lean on humour, poking fun at the familiar tropes of the ‘whodunit’ and calling out Poirot’s penchant for the big reveal. It adds a welcome freshness to proceedings that doesn’t seem at all out of place.

With the crime genre there are lots of expedition and plot dumps which though necessary can seem shoe-horned in, however Ludwig’s script just about pulls off the trick of making it natural, as Poirot hovers about picking up nuggets of information, while various cast members air their grievances.

Mark Hadfield does a solid job as the super sleuth even though at times his accent does wander slightly. Both he and Bob Barrett make a good team as old friends attempting to crack the case. The love triangle at the heart of the story is well played with by Esme Hough, Nye Occomore, and Libby Alexandra-Cooper. Hough is on form as the unhinged women scorned. Whilst Occomore plays the part of the cad very well. Alexandra-Cooper manages to evoke sympathy as the brash troubled socialite.

The ensemble cast do a fine job of selling themselves as possible suspects with each one making sure, they are an essential part of the plot. Special mentions for Glynis Barber and Terence Wilton who make a great comedic pairing as the two aging actors.

Where this production excels is the well-crafted set design by Mike Britton, first bringing to life the interior of the British museum, and later the interior of the paddle steam. The set looks fantastic, with its shifting panels, coupled with Oliver Fenwick’s superb lighting design, as prominent suspects lurk in the shadows. It adds a film-noir quality to proceedings and further ratchets up the intrigue and suspense. Finally, Mic Pool’s atmospheric sound design hits mark the bringing to life the hustle and bustle of life luxury cruise down the Nile, whilst throwing in the odd moment of shock to boot.

Death on the Nile, whilst not perfect, is an entertaining night at the theatre. Fans of Christie’s work will notice little differences from previous adaptations, whilst those coming at this fresh are in for an enjoyable couple of hours even if the big reveal can be telegraphed from a mile away. However, very much like a cruise down the Nile itself, surely the fun isn’t the destination and all about the journey.

Death on the Nile is on at the Lowry Saturday 4th October.

Tickets available https://thelowry.com/whats-on/death-on-the-nile-q4jt

The Mousetrap

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Reviewed by Dan Grimes

Opening Night verdict ⭐⭐⭐

Agatha Christie’s The Mousetrap embarked on a triumphant 70th Anniversary tour two years ago and this week it takes a welcome sojourn at The Lowry’s Lyric theatre.

The Mousetrap really needs no introduction. The play has long since passed the point where it has become a brand in its own right, having played continuously on London’s West End for almost 72 years (COVID notwithstanding). In fact, the production now has its own catchy tagline. “Have YOUdunnit?” probes the poster on the way into the auditorium, reminding me that participation in the audience is as much about being part of a collective experience as it is about enjoying a well-crafted murder mystery.  

Now, having seen the play (for the first time I might add, and without any idea at the outset of WHOdunnit) I feel as though I have been initiated into a secret society which precludes me from giving away too much of the plot. However, I think it’s safe to state that the action centres on events that take place at Monkswell Manor Guest House, a newly opened hospitality venture run by relative newlyweds Mollie and Giles Ralston (Hollie Sullivan and Barnaby Jago) and involving their intake of idiosyncratic lodgers. As news spreads of a murder in London, this group of strangers find themselves snowed in at the remote countryside location. When a fresh-faced police sergeant arrives, the guests discover – to their horror – that one of them, is in fact, the one WHATdunnit.  

This touring production, with well-paced direction from Ian Talbot and Denise Salvey, does a very solid job of bolstering the Mousetrap brand. The staging is at the same time sumptuous and robust. The set elegantly recreates the interior of an English country manor house, complete with gothic oak panelling and stone architraves. The actors work the set hard throughout with doors slammed, staircases tramped, curtains yanked, and windows clambered through. However, testament to the skill of the designers and the construction engineers, there was not even a hint of a wobble. The costumes were in-keeping with the period and each outfit was precisely chosen to enhance the characterisations. Well-cut tailoring and hard-wearing fabrics, these clothes evoked a time before fashion became disposable. The props and furniture items were equally evocative of the time and similarly high quality, with every component coming together to create an overall sense of opulent dependability.

The lighting design was simple but effective. With all the action contained within the same box set, the use of wall lighting and lamps helped punctuate the passing of time and the way the ambient lighting gradually faded as the dark winter night drew in, created the right atmosphere to frame the suspense. I especially enjoyed the care taken over the critically timed blackout at the end of Act 1 with the remaining auditorium lighting also being temporarily dimmed to enhance the depth of the blackout and add to the disorientation.  Unfortunately, sound on this occasion was less reliable, with more than one occasion when miscued microphones pulled you out of the action. I was also a little disappointed with the realism of the snow used on stage. Seeing each newly arrived character lightly dusted with snow from the imminent blizzard was initially pleasing. Unfortunately, the fact that the snow lingered a little too long on clothes when characters were stood in front of the roaring fire, and that some of the dustings appeared more like dollops was ultimately more jarring than was likely intended.  

Performances from all eight actors admirably matched the solidity of their surroundings, with each actor delivering their own well-crafted characterisation. Stand-out performances came from Shaun McCourt as the eccentrically camp Christopher Wren, Amy Spinks as the enigmatic Miss Casewell and TV stalwarts Gwyneth Strong and Todd Carty as the acerbic Mrs Boyle and bumbling Major Metcalf respectively. However, the real star of our show was Hollie Sullivan who was pulled off the understudy bench to play Mollie Ralston. Hollie looked and sounded every inch the 1950s inheritress but also managed to find a depth of emotional connection to the role that caused her to shine that little bit brighter.

Overall, this was an extremely competent production with excellent staging and well delivered performances. That being said, I was left feeling much more enrolled than entertained. I can now say that I have ‘dunnit’ and I will dutifully keep its secret locked in my heart as bid, but overall it was an experience more akin to visiting Madame Tussauds than watching an edge-of-the-seat thriller penned by the Queen of Crime. Whilst I appreciated the craftsmanship and I’m glad to have ticked it off the bucket list, it all felt a bit lacklustre in the end. Very much like the solid oak table mentioned in the script, the play is undoubtedly a genuine antique but it may now be starting to show some signs of woodworm.  

Agatha Christie’s The Mousetrap (70th Anniversary Tour) runs at The Lowry, Salford, from Monday 8th to Saturday 13th April 2024. Tickets are available here.

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The Mousetrap

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The Mousetrap,

The Mousetrap: The Lyric Theatre, The Lowry.

Reviewed by Matt Forrest

Reviewed13/05/19

Opening Night star rating: ****

About 25 years back I was watching a TV programme staring Paul Kaye as comic creation Dennis Pennis, a rogue TV presenter who pranked the great and good of the 90’s celebrity world. It wasn’t just famous people who Pennis targeted, but everyday folk too. On one occasion he accosted some old ladies as they were about to see The Mousetrap and committed the cardinal sin of revealing who the killer was!  As a teenager it was hilarious, if slightly mean spirited yet little did I realise that many years later I’d be going to see probably the world’s most famous “whodunit” already knowing the ending. (Shame on you Paul Kaye).

You see despite a near 70 year run and smashing a whole host of records, Agatha Christie’s The Mousetrap has one of the best kept secrets in theatreland. The fact that it still has the ability to shock and surprise in the modern world shows just how revered the play is and on the basis of tonight’s production it’s easy to see why.

It begins at Monkswell Manor, a converted guest house in the country ran by a young couple, Mollie and Giles Ralston (Harriet Hare and Nick Biadon). They are preparing for the arrival of their first guests to the house, but a nasty snowstorm is hampering their preparations. At the very start of the performance we hear the news through the radio that a woman named Maureen Lyon has been murdered in London. This broadcast is repeated as the guests been to arrive: who include Major Metcalf (John Griffiths), a mischievous architect named  Christopher Wren (Lewis Chandler), a no nonsense battle-axe of a women in Mrs Boyle (Gwyneth Strong), the private and guarded Miss Casewell (Saskia Vagncourt-Strallen), and finally the Mr Paravicini (David Alcock) a mysterious traveller who is caught up in the snow storm.

As the weather worsens word reaches the house that the police are sending an officer, a Sergeant Trotter (Geoff Arnold). When Trotter arrives, he explains that there is a link between the recently diseased Mrs Lyons and Monkswell Manor, his theory is later proven when one of the guests is strangled. The big question is will Trotter be able to solve the mystery before the killer strikes again?

The Mousetrap,

What instantly strikes you about this production is just how much fun it is and that’s down to the direction of Gareth Armstrong: he allows the cast to play it straight when required but also to poke fun at the genre, never really taking itself too seriously. The ensemble cast are superb, traversing the tightrope between ‘hamming it up’ and paying respect to this well-established theatrical institution.

As one might expect with an Agatha Christie, the script is littered with clues, red herrings and the key element of suspense that will keep you guessing throughout. There is some rather clunky and at times dated dialogue which the cast play for laughs, albeit with dead pan seriousness, which again only adds the enjoyment.

Because the murder mystery genre is one, we are so familiar with, it’s easy to forget that Christie is arguably the main reason we know its troupes so well, however director Gareth Armstrong has manged to keep it fresh, entertaining and certainly well worth catching. Despite knowing the identity of the villain, it still managed to come as a surprise which is of course down to Christie’s criminal mind. Based on this production The Mousetrap still has plenty of life in the old girl yet, unlike the late Mrs Lyons!

The Mousetrap is on at the Lyric Theatre, the Lowry till 18th May. Tickets available here:

https://thelowry.com/whats-on/the-mousetrap/

 

 

 

 

Love from a Stranger

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Stranger 1

Opening Night verdict ⭐️⭐️⭐️⭐️

Reviewed by Matt Forrest

Agatha Christie is one of the most prolific writers of not just her own, but any generation, turning out over 60 books. She was also a successful playwright, having penned the theatrical titan that is The Mousetrap.  However, her flirtation with the stage didn’t stop there, as here we have Love from a Stranger, a Christie short story called Philomel Cottage which was adapted for the stage by writer/actor Frank Vosper in 1936. This isn’t just another ‘run of the mill’ Christie ‘whodunit’, but a multi-layered tale of control, manipulation with a thoroughly believable monster at the centre of it.

Having come into a substantial amount of money, Cecily (Helen Bradbury), seemingly has the perfect life: wealth, a good job, and engaged to her partner Michael (Justin Avoth). However, it is adventure that Cecily seeks, and a chance encounter with a handsome photographer, Bruce Lovell (Sam Frenchum) opens all sorts of possibilities for Cecily. The charismatic young American persuades Cecily to leave her old life behind and start afresh with him.

Stranger 2

The couple move to a remote cottage in the country where at first everything seems perfect, however cracks begin to appear in the relationship, and all is not what it seems with Lovell, as he begins to control and manipulate his now wife much to the distress and concern of Cecily’s family and friends.

Director Lucy Bailey has done a fantastic job crafting a tense, captivating psychological thriller. The production’s main strength is its ability to shock. At first it seems to be run-of-the-mill, easy going fodder, perfect for a lazy Sunday night in front of the telly. There are even a few laughs in there, courtesy of Aunt Louise (Nicola Sanderson) and then later housemaid, Ethel (Molly Logan), however this is all a ruse, designed to sucker you in and leave you fully unprepared for the events that transpire in the nerve shattering finale.

Stranger 3

It’s not just the script that helps ratchet up the tension, Mike Britton’s unique and intricate set design, of sliding panels and see through walls add to the claustrophobia, whilst bringing an element of voyeurism to proceedings. In addition, Oliver Fenwick’s film noir lighting design comes into its own as the story unfolds adding menace and an almost seedy quality to proceedings.

The cast are on fine form: the two leads have a believable chemistry with each other: Bradbury is feisty yet naive as Cecily, whilst Frenchum is charming and menacing as the unhinged Lovell. They are supported by a superb group of actors: with special mention going to a near show stealing turn from Nicola Sanderson as Aunt Louise, who certainly brings a great deal of humour to a character that could be irritating: however, some of her lines and her stage presence had the audience in stitches.

Stranger

One thing which did affect this fabulous production, and which is in no way the fault of the cast or crew was various audience members leaving their mobile phones switched on throughout the performance, one noisy intervention coming at a particular tense moment in the play: it really is frustrating the amount of times this seems to happen. Switch your phones off! Embrace being at the theatre and be in the moment!

Mobile phones aside, this is a riveting, entertaining and engrossing production, that like its lead character, starts off as one thing and in the end is a different beast all together: certainly, worth a watch.

Love from a Stranger is at the Lowry until the 14th July tickets available here.