Step on-board and back in time as the New Old Friends head downriver in their latest “whodunnit” comedy-caper inspired by their regular muse, Agatha Christie. Set in the 1930s on a lavish cruise, the famous Belgian Detective, Artemis Arinae embarks on a strictly crime-free vacation until…
The story opens bang-splat in the middle, right at the very point that the gun-shot was fired. Introducing every possible suspect through a series of rapid onstage costume changes & jovial one-liners, the tone was set for a boisterous romp of glorious silliness. It’s no surprise here that James Farrell, whose creative credits include Associate Director of the multi-rolling famed 39 Steps, is the creative behind this ensemble of only 4 highly skilled actors to carry off the murderous plot brimful of character(s) all whilst trying to remember which role comes next.
Physically dragging the story back in time through a wonderful “rewinding” scene, we the audience were transplanted to the very first day of the fateful voyage and, as each character boarded, it soon became apparent that each guest was already known to the others through business, scandal or love. Away from land, the trap is soon set with lovers' tiffs, dodgy financial dealings, and more outrageous accents than you can shake a Monty Python stick at!
The set itself was beautifully designed down to the last detail and functioned as both top deck, first class saloon and galley entrance to each character’s bedroom quarters. Rigged with opening port-hole windows and adjustable prop holders hidden as piping for fast-paced role-switches, the designer and cast can only be commended for their ingenuity as suitcases were reused to bring crocodiles to life, create a stylish bar & host a desert camel race.
The lighting was used carefully to subtly compliment the high energy action, and music piped through a gramophone and into each bedroom set the mood, leaving space for the clownish antics to really shine through. Similarly, the costumes were quiet in contrast to their owners, and carefully chosen to reflect the time period and grandeur expected of a classic murder mystery. I was only amazed that no Velcro was used in the making of this show!
As Artemis honed her theories, all characters were gathered onstage for the final reveal. The space had been prepared in the lead up to this as the remaining cast arranged costumes and props around the stage so that every suspect was present and correct. With so much potential for things to go wrong in such a snappy, complicated scene, the cast really raised the stakes as backstage took centre stage and was laid bare before the audience. What followed was a mixture of self-aware cheekiness and actors flew from costume to costume to keep the protestations of innocence moving between them as Artemis paced the stage in the signature style known to all fans of Poirot, Sherlock Holmes and Jonathan Creek. A special round of applause was given for “Herr Doctor” whose spectacle-holding-pipe flew from its fixtures in a particularly spectacular set malfunction. However the fast thinking “Doctor” ad-libbed it admirably with “I need a new prescription” and at that, an even greater level of hilarity rippled through the audience.
I can recommend Crimes On The Nile to anyone with a funny-bone and a desire to have it tickled. As an affectionate, homage to the genre, it promised cloak and dagger and delivered with gusto- throwing a smidgen of slapstick, panto and well-humoured naughtiness into the mix for good measure. Currently criss-crossing the country until the 20th April 2019 that leaves ample time to go twice, tell all your friends, and bring your most ridiculous accents.
Reviewer - Natalie Bowers
on - 5/2/19
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