Murder on the Nile written by Agatha Christie

Directors: Robert Tremayne and Vicky Newman

Venue: The Barn Theatre Southwick

Review: Wednesday show (15.4.2026) by Marlene Tincknell 

The setting was genuinely charming, and the decision to invite those seated at the café tables to dress in period costume added a delightful layer of immersion. Being placed so close to the action made the audience feel like fellow passengers rather than observers, folded neatly into the world of the play. It was an imaginative touch that strengthened the production’s atmosphere, although I would’ve liked to see the  Front of House team  also similarly dressed and this would have elevated the experience even further. 

The design of the set itself — the observation deck of the paddle steamer Lotus — was inspired. It immediately established both place and tone, offering a sun‑drenched sense of leisure that contrasted effectively with the tension beneath the surface. Cast members interacting with the audience as bead sellers, postcard vendors, and even someone offering “cheap deals on donkey hire” created a lively, bustling environment and made the audience feel as though they were stepping directly into the world of the play. 

As the principal characters arrived on deck, they were greeted by the Chief Steward, played by Andrew Wesby. His performance was warm and attentive, establishing the necessary sense of order aboard the Lotus. There were moments where his delivery felt a little hesitant, and his shooing away of the vendors might have benefited from more authority, but he remained a constant, busy presence throughout. His interactions with the Stewardess, played by Claire Coull, helped maintain the impression of a fully functioning vessel. 

At the start of Act 1 we meet our characters and start to piece together who knows who  and the fraught love‑triangle between Kay, Simon, and Jackie. The tension between the three was there from the start, with Jackie’s brittle intensity cutting sharply against Kay’s confident glamour. Simon’s attempts to maintain composure heightened the sense of unease, and the production allowed these dynamics to simmer effectively.  The pacing of Act I was laced with moments of tension followed by slower and humerous exchanges that softened the dramatic momentum. 

In Act II, the pace slowed noticeably due to the number of duologues and extended exchanges between pairs of characters. While these scenes offered insight into motives and relationships, the effect was a loss of momentum at a point where tension should ideally be tightening. However, the emotional clarity towards the end of the act was striking. Canon Pennefather’s depth of feeling as he pieced together how and why Kay was killed grounded the drama in genuine human grief. 

The cast worked well throughout. Charlie O’Hagan’s Kay Mostyn was portrayed with poise and sensitivity, and the gradual build‑up to her demise showed a strong command of her growing anxiety regarding Jacqueline. Canon Pennefather, excellently played by Robert Treymayne, was particularly impressive given that he stepped into the role late in rehearsals. He brought pathos, calm authority, and emotional depth, anchoring the investigation with quiet gravitas. 

Anna Connors gave a striking performance as Jacqueline de Severac. “Hell hath no fury like a woman scorned” was used to full advantage in her portrayal. The clever costume choice of dressing her entirely in shades of green, for envy,  even if that was clearly not her driving force- or was it?   Kelly Verstappen delivered a beautifully precise performance as Louise, her accent executed with perfection. By contrast, Frank Horsley’s Dr Bessner, though well‑characterised, had an accent that wavered on occasion. 

Miss Ffoliot‑Foulkes, played with great humour by Pippa Dawes, made the most of Christie’s sharp lines. At times the performance edged towards excess, but the audience clearly enjoyed it. Her niece, Christina, portrayed by Jess Stiles‑Rolt, offered a lovely contrast as a down‑trodden young woman treated more like a skivvy than a companion. Her scenes with Smith, played by Steve Saw, were particularly endearing. Steve characterised Smith with warmth and sincerity, though the combination of a woollen tank top under a linen jacket seemed a touch warm for the setting. 

George Simmonds gave a strong performance as Simon Mostyn. His initial calmness unravelled into a more heightened energy in Act II, particularly during the scene in which he acted out the shooting of his leg. It was a bold shift that added intensity to the unfolding drama. 

Congratulations are also due to the remaining cast members, who played a myriad of smaller roles that enriched the world of the play. 

In conclusion, this was an entertaining and engaging production, offering a balanced blend of drama, humour, and tension‑filled action. Although the play lacks the familiar presence of Hercule Poirot, nothing in this staging detracted from the strength of the story, and the cast worked impressively together. The occasional opening‑night foible — a fumbled line or a mistimed prop — was minor and easily forgiven. Overall, the production delivered a lively and enjoyable evening of theatre, with much to admire in both its ambition and execution. 

Marlene Tincknell