INSPECTOR MORSE: HOUSE OF GHOSTS - A bold, brash, and bantering take on a beloved British brand plays MILTON KEYNES Theatre until Sat 21 March
- 16 minutes ago
- 2 min read
by Shahnaz (Shiny) Hussain
From the moment you step into the auditorium, you are gently immersed in Morse’s world, the sound of classical music drifting through the space, an immediate nod to the detective’s well-known tastes. It sets a mood of quiet sophistication before the drama even begins. Then, without warning, the tone shifts. A young actress collapses mid-performance, her sudden death freezing the stage and audience alike. Suspicion hangs thick in the air, and just as the tension settles, the familiar theme music sweeps in, heralding the entrance of Morse himself.
At first, it feels as though the production is about to recreate the beloved television series in theatrical form. Expectations lean toward the familiar, a thoughtful, slightly melancholic Morse, steeped in opera, crosswords, and real ale, paired with his steady, understated colleague Lewis. Yet what unfolds is something quite different.
Tom Chambers’ Morse is less stoic and less imposing than many might expect, while Tachia Newall’s Lewis is energetic, youthful, and at times almost impulsive. Their dynamic leans into humour, with quick exchanges and playful banter that give the piece a lighter, occasionally farcical edge. While this approach brings an accessible, comedic tone, it may catch long-time fans off guard, specially those anticipating the more introspective, measured pacing of the television original.
That initial expectation is perhaps the production’s greatest hurdle. For those familiar with the TV version, it can take time to adjust to this reinterpretation. However, once that comparison is set aside, the play reveals itself as an engaging and entertaining whodunnit in its own right, closer in spirit to a lively ensemble mystery than a brooding character study. More Midsummer Murders than Morse!
The narrative itself is compelling. What begins as a seemingly straightforward investigation deepens into something far more personal, as echoes from Morse’s past begin to surface. The layering of present mystery with long-buried secrets adds intrigue and keeps the audience invested.
The supporting cast brings strong energy throughout. Robert Mountford’s flamboyant director, Lawrence Baxter, is particularly memorable, all bold presence and theatrical excess. Charlotte Randle’s Verity and the rest of the ensemble embrace the heightened tone, contributing to the production’s sense of drama and occasional exaggeration.
Visually, the staging is impressively economical. The set remains minimal, evoking a backstage theatre environment, yet transitions are handled with such precision that scene changes feel almost invisible. This slick movement keeps the focus firmly on the unfolding story. Notably, the funeral scene stands out for its simplicity and impact, a single backdrop suggesting a church window, paired with subtle sound design, creates a moment of genuine atmosphere and stillness.
Written by Alma Cullen, who also contributed to the original television series, the play carries a thin thread of authenticity while clearly choosing to explore a different tonal direction. The result is a production that may not fully align with expectations of classic Morse, but offers an enjoyable and often fun evening of theatre once it finds its own rhythm.
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