Murder on The Nile

Light jazz music wafted over the auditorium which changed to typical music full of eastern promise and quayside vending where the paddle steamer ‘Lotus’ was awaiting her passengers to embark to cruise the Nile. This is a typical edge of your seat story from Agatha Christie, an adaption from her 1937 book and first staged in 1946. A story embracing love, betrayal and death, with each of the passengers having a possible motive. But to unravel, my efforts were completely incorrect. Certainly, a web of intrigue.

With Frank Jenks at the helm the ‘Lotus’ was beautifully constructed, the bow shaped lounge with central fully equipped bar, with a ‘Lotus’ sign above. Each side had three windows over which were art deco light fittings. Benches were placed either side dressed with cushions, with lower stage exits to cabins. Rattan chairs were set down stage with a matching central drinks table. The back drops behind gave the impression of sky. The lighting was particularly effective during the changes from daylight to sunset and darkness which was designed by Dan Shotter. David Barker was SM and Stables volunteers operated both the lighting and sound - including loud gun shots! Gill Jenks made her premier directorship at the Stables and together with her well-rehearsed cast characters, none of whom were quite what they seemed, kept up the tension and deception throughout, with various accents well maintained. Each character was well dressed for the period especially elegant evening attire, with appropriate personal props. I did feel however, some of the ladies’ hairstyles might have been more elaborate.

Stewart Marquis portrayed Canon Pennefather, a very wordy role well delivered, an imposing clergyman, also Kay Mostyn’s guardian and was her father’s best friend. He oversaw her finances until her marriage, which came as a total surprise, after which Kay became independent. He took on the role of a ‘Poirot’ like detective, listening, observing, and offering advice, to those onboard as he investigates the murder and uncovers the truth.

Bianca Eichler played Kay Mostyn with attitude and self-assurance, a young wealthy, presenting a manner of one born to command but tragically to be murdered in her cabin whilst on honeymoon. New husband is Simon Mostyn a personable, likeable, protective initially until we discover what his true motives really are! Mark Piotrowski certainly hoodwinked the audience in a convincing manner. I did think his wound could have bled a little more!  Even more worrying was the fact that he was previously engaged to Kay’s good friend from their posh schooldays Jacqueline de Severac, until her family financial situation changed. Jacqueline asks Kay’s help to find Simon a job and of course immediately they fall in love. Bitter with jealousy she pursues the newlyweds. Aisling Teodorescu played this initially with a very cool demeanour but as the play moved on her bitterness produced some strong words but with serious consequences on conclusion. A real change of tempo for Aisling.

I enjoyed Ros Williams interpretation of Helen ffoliott-ffoulkes – small ‘fs’ of course   - narcissistic, wealthy,  snobbish with upright elegance who treats great-niece Christine Grant as a companion/servant by constantly making every situation about herself. Carley Hale certainly portrays her endless patience with asides and facials rather well – but was this character actually too good to be true?

Adding a bit of humour was William Smith, a charismatic socialist with a contempt for the upper class, joins the luxury cruise despite his lack of visible means of financial support, although hinting perhaps a hidden background. His outspokeness contrasts with his protective nature. Bowled over by Christina, he shows a softer side beneath his outspoken comments. Liam Rowley had this part nailed with cheeky attitude. Sarah Milne was a commendable Louise, the French maid, holding her accent well and who sees more than meets the eye, often using her knowledge to her advantage. A little sly and a certainly with an air of intrigue coming through, exploiting situations, who also is done away with!

Terence Hattemore became a convincing accented mysterious Dr Bessner, perhaps German - specialist in psychology and mental disorders, he becomes involved when his medical services are required to nurse a gunshot wound. It is revealed Dr Bessner harbours a serious grudge against Kay’s father, stemming from the death of his family during a war caused by the munitions manufactured by Kay’s wealthy father.  Alan Haynes created a lovable Steward dressed in a sparkling white long tunic and Nubian red /fez serving as the ship’s meeter and greeter and drinks server to his sometimes awkward passengers. Always wearing a smile and a nod, he showed charm, though his knowledge of English was negligible he constantly ensures their comfort during the voyage. I liked the way Alan constantly busied himself quietly at the rear. He later changed his livery and doubled up as a smart ship’s captain.

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