For those unaware, the Genesian Theatre Company has become rather synonymous with murder mystery plays, especially those by Agatha Christie. I have seen several of these over the years, including a cheeky recent play called “Let’s Kill Agatha Christie.” Murder on the Nile certainly played into the strengths of the group and presented an entertaining evening of theatre.
Although the original book and multiple film adaptations can take greater advantage of the exotic Egyptian location, I thought set designer Gregory George did a fantastic job of transporting the audience across time and continents even though the play takes place in a single room on the boat. The image of Abu Simbel outside the windows that appears for the second act, the ominous statue of Anubis constantly centre stage, and the ancient Egyptian motifs on the walls and table coverings added a unique element to what is otherwise a standard “locked room” mystery. Gregory George was also one of the ten actors who ably bring this thriller to life as Dr. Bessner, a convenient man to have on board when one needs to tend to gunshot wounds.
As with any good mystery, each of the characters had complicated backstories that led them to either be the perfect suspect or the perfect victim. Izzy Azzopardi enthusiastically played the wildly jealous and impulsive ex-fiancée, Jacqueline De Severac. Azzopardi showed impressive range from conniving to angry to remorseful and back, all within minutes. It was a true delight to watch her emotional gymnastics – simultaneously over-the-top and still believable.
The ex-flame she is stalking, Hunter Smith as newlywed Simon Mostyn, was also a standout. He looked and felt like he came straight out of a golden age film, and likewise got to show off his strong acting chops with a full character arc from blissful honeymooner to mourning widower.
Sandra Bass, a Genesian stalwart, was back in her wheelhouse as a crotchety older passenger whose defining characteristics are being wealthy and selfish. She earned some of the biggest guffaws of the evening with her perfectly in-character delivery of outrageous statements given the circumstances.
Another Genesian regular on stage was David Stewart-Hunter as Canon Pennefather, who had the challenging role of playing a corrupt clergyman (and potential suspect) who also takes on the interrogation duties in the absence of a Poirot or another true detective character. Steward-Hunter aptly took the audience on the journey of putting the pieces together to solve the multiple murders.
This is truly an ensemble piece with no weak parts, thanks very much to director Theo Hatzistergos and Assistant Director Mark Bull. The play was well orchestrated with good pacing and attention to detail. Stage Manager Rhea Moloo should also be commended for running a tight ship (pun intended!), with all technical and transitional elements presented seamlessly.
My only gripe was with the writing of the play itself. The final scene, where we finally learned who did it, was played with only two actors on the stage. I missed the drama of the murderer being called out in front of the remaining group and seeing everyone’s reactions.
Murder on the Nile makes for a fun night out for any mystery lover. And even if you’re familiar with Death on the Nile (the book or films) and already know the ending, you’ll enjoy seeing how Agatha Christie adapted the work for stage. Although the main plot still stands, taking away Hercule Poirot and a bit of an open-ended conclusion keep this production fresh.