Review: AGATHA CHRISTIE'S MURDER ON THE NILE is a Fresh Take at GMU's Center for the Arts

Agatha Christie's mysteries are often known for their use of suspense and Death on the Nile is perhaps one of her most popular ones. Death on the Nile has been adapted for television, the big screen, and the stage as Murder on the Nile. Aquila Theatre's suspenseful, fast paced, and often times uproariously funny version of Murder of the Nile, directed by Peter Meineck, honors Agatha Christie's style whilst adding a new layer of context. Set during World War II, Aquila Theatre's Murder on the Nile takes the familiar play and ups the tension. Set during an air raid in London during World War II, Aquila Theatre's production follows radio actors from BBC who find themselves with an incomplete cast. Through quick thinking, they decide to continue despite the air raid. After all, the show must go on...with or without Poirot.

Lincoln Hudson, James Lavender, and Palmyra Mattner make up the small ensemble of Aqulia Theatre's production of Murder of the Nile. The cast dons literally many hats and juggles plenty of roles seamlessly. With the help of the hats and each actor's uncanny ability to channel Christie's iconic characters, there isn't any moment of wondering which character is which. Hats aside and role juggling aside, Hudson, Lavender, and Mattner are quite the trio. Their comedic timing and physicality stand out well even in scenes where there are no lines. A prime example is a scene in which the three sway side to side to show the movement of the boat and manage to spill tea on each other. While Hudson, Lavender, and Mattner are equally talented in comedic skills, they are also just as skilled in bringing out the complexity of Christie's characters. Mattner shines as the crazy in love Jacqueline de Severac. She channels Jacqueline's desperation for Simon with every movement and word. Lavender's performance of Simon Mostlyn, the man who recently wed his ex-fiancée's best friend, stands out as he channels Simon's simplicity and trustworthiness on his sleeve. Hudson creates an atmosphere of distrust around Canon Pennefather, the uncle of Simon's wife, but then breaks down the distrust and replaces it with trust as Pennefather switches into detective mode à la Poirot. Along with pieces of the play, there are moments in which the actors are roped in doing musical interludes to go with the radio play. For these interludes, Hudson, Lavender, and Matther put on fezzes and jam to songs such as "Walk Like an Egyptian" by The Bangles. While the musical interludes don't match the taste of Christie's characters in the 1940s, it manages to mesh with Aquila Theatre's production aesthetic.

Aquila Theatre's production aspects match the energy and dedication of the actors to Christie's characters. While the radio talent scrambles to keep the production afloat, they occasionally stop in horror by the overpowering sound of the air raid horn or a BBC announcer. The sound, designed by Chase Duhe, is extremely immersive and drives the production's suspense without overpowering the actors. The projections, designed by Dave Tennent, do not distract from the action and add extra layers of energy, as well as, movement to the production. The costumes, designed by James McDaniel, especially the hats, reflect the distinct personalities of each of the characters in the radio play.

Poriot or no Poriot - Aquila Theatre's production of Murder on the Nile is a worth seeing whodunit.

Running Time: Two hours - includes one intermission.

Agatha Christie's Murder on the Nile is on its tour throughout the states. For a schedule of the tour, please click here.

Pictured: (l to r) Lincoln Hudson, Palmyra Mattner, and James Lavender in Aquila Theatre's production of Agatha Christie's Murder on the Nile. Photo by Richard Termine.