GAIL CHOOCHANThe Free Lance-Star
Murder is afoot at Arena Stage, but so is comedy, with its latest production of Agatha Christie’s “Death on the Nile.” However, this isn’t your run-of-the-mill murder mystery.
Ken Ludwig, one of theater’s most prolific playwrights, brings a comedic touch to the Hercule Poirot classic about a group of passengers on an ill-fated cruise along the Nile River. This well-polished production also marks the Arena Stage directorial debut of artistic director Hana S. Sharif, who succeeded the theater’s longtime leader Molly Smith last year.
The Tony-winning playwright previously adapted “Murder on the Orient Express” for the stage, which readers may have caught earlier this year at Riverside Center for the Performing Arts. And like that show, the list of characters/suspects has been streamlined to make for a less crowded production. In this adaptation based on Christie’s 1937 novel, expect a few new faces in this whodunit like the great Shakespearean actor Septimus Troy and the high-strung archaeologist Atticus Praed.
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“Death on the Nile” begins the story in London (marked by the lone red phone booth), followed by a swanky party at the British Museum, before whisking audiences away aboard a luxurious cruise. When wealthy socialite Linnet Ridgeway is found dead in her cabin, Poirot must discover which of the Karnak’s passengers is the murderer.
There are some bumps in this world-premiere production, which hopefully can be smoothed out down the line. The story’s pacing feels clunky at times, especially during the first act, and the big murder doesn’t occur until the second act, leaving an abbreviated time for sleuthing. However, when the show finds its groove, it’s smooth sailing. “Death on the Nile” isn’t rolling in laughter like Ludwig’s riotous Sherlock Holmes spoof, “Baskerville,” and is more in line with “Murder on the Orient Express,” as a drama with light comedy.
“Death on the Nile” has assembled a strong cast, with a mix of local theater favorites and Arena Stage newcomers. As the famous Belgian detective, Armando Durán delivers an understated and insightful performance in his Arena debut. His Poirot offers a welcome balance between other characters, who heavily lean into the comedy or the melodrama. When Poirot’s sidekick Colonel Race bemoans that he hates the part of the investigation with the screaming, I feel the same. There were moments when it became too overdramatic.
The bantering between Salomé Otterbourne and Septimus Troy offers refreshing respite from the romantic chaos between newly married couple Linnet Ridgeway and Simon Doyle, and third wheel Jacqueline de Bellefort. Simon’s spurned ex-lover and Linnet’s former best friend is hell-bent on disrupting the couple’s holiday. Olivia Cygan and Katie Kleiger both turn in intense performances, fueled by love, jealousy and anger; and Travis Van Winkle solidly plays the charmer caught in the middle.
On the lighter side: The always wonderful Nancy Robinette is perfect as the flamboyant Salomé, a calligrapher and novelist turned aspiring actress, and gets some of the best lines (“Is this where we get interrogated?” she says cheerfully). She’s well paired with Eric Hissom as the debonair Septimus Troy. Their scenes together are an absolute joy to watch.
Robert Stanton also gets in some nice comedic moments as the British Museum archaeologist, who’s disappointed in his son’s medical aspirations. In a smaller role, Felicia Curry brings a burst of energy to the story as Annabelle Pennington, Linnet’s wacky trustee who arrives late to the river party. Curry is a big talent and unfortunately underutilized in this adaptation.
Alexander Dodge’s set design is striking, turning the Kreeger Theater into the luxurious SS Karnak. A turntable design rotates from the riverboat’s wood-paneled lounge, meticulously designed, to the promenade deck, as Brittany Bland’s projections of maps, illustrations and scenery fill out the frame. Karen Perry's finely detailed costume choices are stunning, with the women decked out in rich-looking colors and sparkling numbers. Hair and wig design by LaShawn Melton complete the 1930s look.
Everyone loves a good mystery—and a laugh, and with this talented group of performers and sumptuous staging, just sit back and enjoy the ride.
If You Go
Agatha Christie's "Death on the Nile,"Arena Stage at the Mead Center for American Theater, 1101 Sixth St. SW, Washington, D.C. Through Dec. 29. arenastage.org
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