Playwright Ken Ludwig talks new stage adaptation of ‘Death On The Nile’: “Traditional mysteries are a lot like comedies”

Following his latest theatrical version of Murder On The Orient Express, the author brings back the suspense to the stage with another new play based on one of Agatha Christie’s most popular works. Guillermo Nazara chats with the writer to learn about the development process of the piece — and essentially, how he’s dunnit.

How does it feel to be bringing another one of Agatha Christie’s most popular mysteries to the stage?

I feel incredibly lucky to be entrusted with Hercule Poirot again. Agatha Christie is one of the most beloved authors in the English language, and getting to work in her world is a joyous collaboration.

After the warm reception your version of ‘Murder On The Orient Express’ has received, does writing another adaptation get any easier, or does the anticipation make it a more daunting task?

Every play is its own challenge. In many ways, Murder on the Orient Express was an easier novel to adapt because the throughline of the story is so strong and clear. Death on the Nile is tougher because the story, including the crime and its solution, is more complicated. I wouldn’t say I’m daunted by the success of Murder on the Orient Express, but I certainly always feel a responsibility to tell a great story and give audiences a great night in the theatre.

Not only is the novel one of Christie’s best known works, it’s also been made into a film classic and a later remake. Does this pose an additional challenge?

Yes and no. I love the Peter Ustinov film especially, and I hope that everyone with fond memories of reading the novel or seeing any of the films will want to come and enjoy this play. But when I write I have to make my own way into the story. I don’t think adaptations need to compete with each other: there’s plenty of room for all of us.

Though much of the story happens on a boat, the plot also features some of Egypt’s most iconic sights. How did you manage to translate that to the stage?

That’s a question for our team of talented designers!

Has any character or plot element been altered significantly in comparison to the source material?

Christie’s novel is packed with characters and subplots that needed to be streamlined for the stage. Audiences will meet new characters and some different plot elements, but they’ll definitely still see the heart of the story and the quirky genius of Poirot.

What particular creative challenges have you found throughout the development of this adaptation?

I write comedies—that’s where my heart is. Traditional mysteries are a lot like comedies in that they begin in an ordered world, that world is thrown into chaos, and by the end, order is restored. The challenge with this mystery in particular, though, is its darkness. I worked hard to balance that darkness with light.

What do you think makes this adaptation stand out?

I think it’s a such a rich world: the Egyptian imagery, the elegant boat, the fascinating characters. It’s not just a murder mystery, it’s an immersive night of entertainment.

Are you planning any new Agatha Christie adaptations?

That depends on how much audiences like this one!

Why come see this version of ‘Death On The Nile’?

This production has everything: the brilliant vision of director Lucy Bailey, a stellar cast, beautiful designs from the same team behind Murder on the Orient Express and at its center, one of Agatha Christie’s greatest tales.

Death On The Nile will tour across the UK from 26 September. Tickets, venues, and dates are available on the following link.

By Guillermo Nazara