It’s not often that a burble of laughter dances through the audience when a major character dies onstage in a murder mystery. But on the opening night of Death on the Nile at Arena Stage, that is precisely what happened. A gunshot ricocheted through the theater in a shocking turn of events, followed by a sudden and embarrassed chuckle that spread through the audience.
Agatha Christie’s Death on the Nile, adapted for the stage by playwright Ken Ludwig (who joined the sold-out opening performance in the Kreeger Theater), follows a group of 11 unlikely traveling companions who set off from Aswan, Egypt, on a six-day cruise along the Nile River. Somewhere within those six days, an ancient artifact is destroyed, a love affair begins, a marriage is announced, and a passenger is murdered.
Among the 11 are British Museum archaeologist Atticus Praed and his son (a doctor) Ramses Praed. There are the Otterbournes, romance novelist and aspiring actor Salomé, and her daughter Rosalie. Sir Septimus Troy, a famous and melodramatic actor, is aboard along with Colonel Race, a longtime friend of Hercule Poirot. Annabelle Pennington, a trustee of Linnet Ridgeway (a major donor to the British Museum), joins the cruise at the last minute. And, of course, Hercule Poirot, the renowned Belgian detective, is also on board, hoping for a murder-free vacation, but that is not in the cards.
Finally, there are Simon Doyle, Jaqueline de Bellefort, and socialite Linnet Ridgeway, who are a love triangle of revenge at the root of this mystery. Simon and Jaqueline open the show on the streets of 1937s London, undoubtedly in love. But when they join the cruise, Jackie is no longer on Simon’s arm; he has married someone else, Linnet. Jackie and Linnet were best friends; Jackie came from no money, and Linnet came from excess. The love triangle complicates as the show unfolds, but revealing more would ruin the suspense.
The world premiere of Death on the Nile at Arena Stage is a large-scale spectacle of mystery, comedy, and relational drama. Directed and spearheaded by Artistic Director Hana S. Sharif, the show shines with its impressive production design, nuanced performances by accomplished actors, and suspenseful plot from Christie buoyed by Ludwig’s writing.
Arena’s production features an elaborate set designed by Alexander Dodge that brings the actors and audiences onto the cruise. The set transforms from the bow of a ship (with a railing for characters to attempt jumping overboard) into an Ancient Egyptian monumentt; the scale of the design is remarkable.
Kenneth Posner’s lighting design creates the necessary environment for the play as the scenes shift in time of day and location, mooring the audience throughout the many changes. Karen Perry’s costume design enhances each character’s unique personality while also portraying the reality of the period with fabulous gold-bedazzled dresses, velvet suit jackets, elaborate headpieces, and a plethora of costume changes.
Original music and sound design by Charles Coes and Nathan A. Roberts elevate the ambiance and center the audience in 1937 London and then Egypt. The music deftly creates suspense, which is essential in this murder mystery brought to life on stage. The music allows the stage play to have a feel similar to a movie, with the added enjoyment of having a live, reacting audience.
The actors give exceptionally specific and individual performances, bringing each of their very different characters to life. Katie Kleiger plays Jackie de Bellefort with enticing charm and ominous mystery. In Olivia Cygan’s expert hands, Linnet Ridgeway is heightened to her most glamorous and paranoid self, allowing the audience to both sympathize with and distrust Miss Ridgeway.
Nancy Robinette brings endless charisma and personality to Salomé Otterbourne, giving the audience unending laughter and astonishment. Robinette honors Salomé’s eccentricities with expertise and truth. Felicia Curry gives the smaller role of Annabelle Pennington all the importance in the world. She has a striking ability to command the stage with her delightful and eye-catching presence.
Holding the whole cast together is Armando Durán, who has the very complicated task of portraying the iconic Poirot and does so with grace, meticulousness, and individuality. Durán offers audience members his version of Poirot while still paying respect to the many Poirots who have come before. Durán observes every relationship with the watchful eye of an owl, and the audience is able to see him mapping the spiderweb of complications within this group.
This hefty show excels under Sharif’s direction as she makes her Arena directorial debut. She directs with acute attention to detail, which is essential for a production this size. From the acting to the lighting, everything fits into the calculated world of this murder mystery.
It’s not easy to adapt such an iconic book, now a commercially successful movie, for the stage, which has certain limitations that books and films don’t. While sometimes excessive set changes take away from the flow, overall this adaptation is well suited for the Kreeger.
The added intimacy created by the presence of a live audience makes the show enjoyable while still suspenseful. As the characters discover, love, fight, and murder, the audience gasps alongside them. It’s a welcome distraction, an evening of amusement and shock: Death on the Nile is a thrilling and entertaining world premiere.
Running Time: Two hours and 25 minutes with one intermission.
Agatha Christie’s Death on the Nile plays through December 29, 2024, in the Kreeger Theater at Arena Stage, 1101 6th Street SW, Washington, DC. Tickets ($59–$179) may be obtained online, by phone at 202-488-3300, or in person at the Sales Office (Tuesday-Sunday, 12-8 p.m.). Arena Stage offers savings programs including “pay your age” tickets for those aged 35 and under, student discounts, and “Southwest Nights” for those living and working in the District’s Southwest neighborhood. To learn more, visit arenastage.org/savings-programs.
The program for Death on the Nile is downloadable here.
COVID Safety: Arena Stage recommends but does not require that patrons wear facial masks in theaters except in designated mask-required performances (Tuesday, December 17, at 7:30 p.m. and Saturday, December 28, at 2 p.m.). For up-to-date information, visit arenastage.org/safety.
Agatha Christie’s Death on the Nile
Adapted for the stage by Ken Ludwig
Directed by Hana S. Sharif
CREATIVE TEAM
Set Designer: Alexander Dodge
Costume Designer: Karen Perry
Lighting Designer: Kenneth Posner
Original Music and Sound Design: Charles Coes and Nathan A. Roberts
Project Designer: Brittany Bland
Hair and Wig Designer: LaShawn Melton
Fight Director: Sordelet Inc – Rick Sordelet
Dialect and Vocal Coach: Lisa Nathans
Dramaturg: Otis Ramsey-Zöe
New York Casting: Caparelliotis Casting, David Caparelliotis and Joseph Gery
DC Casting: Raiyon Hunter
Creative Associate: Ashley D. Polasek
Stage Manager: Christi B. Spann
Assistant Stage Manager: Dayne Sundman
CAST
Annabelle Pennington: Felicia Curry
Linnet Ridgeway: Olivia Cygan
Hercule Poirot: Armando Durán
Septimus Troy: Eric Hissom
Jacqueline de Bellefort: Katie Kleiger
Colonel Race: Jamil A.C. Mangan
Ramses Praed: Ryan Michael Neely
Salomé Otterbourne: Nancy Robinette
Atticus Praed: Robert Standon
Simon Doyle: Travis Van Winkle
Rosalie Otterbourne: Sumié Yotsukura
Understudies
For Ramses Praed, Simon Doyle: Brandon Haagenson
For Linnet Ridgeway, Jacqueline de Bellefort, Rosalie Otterbourne: Lilli Hokama
For Hercule Poirot, Septimus Troy, Colonel Race, Atticus Praed: Keith Richards
For Salomé Otterbourne, Annabelle Pennington: Erika Rose
Extras
Sam Fromkin, Kira Gandolfo, Daniel Maseda
PRODUCTION
Associate Projection Designer: Zavier Taylor
Assistant Director: Jaida Gillespie
Assistant Set Designer: Clayton Dombach
Projections Programmers: Tiffany Chen, Jerran Kowalski
Intimacy Consultant: Sordelet Inc. And Victoria Vourkoutiotis
Movement Consultant: DeMoya Watson Brown
Magic Consultant: Ryan Phillips
Production Assistant: Kyla S. Mermejo-Varga
Stage Supervisor: Hannah Martin
Deck Carpenter: Courtney Naughton
Props Technicians: Luís Ramon Córdovez, Erica Feidelseit
Light Board Operator: Kelsey Swanson
Lighting Assistant: Christian Henrriquez
Audio Engineer: Liv Farley
Second Audio: Emily Pan
Wardrobe Supervisor: Alice Hawfield
Wardrobe: Lillian Hall, Caitlin O’Brien
Wigs, Hair And Makeup Supervisor: Jaime Bagley
Crew Swings: Trevor Comeau, Madalyn Oliver
