I’ve always enjoyed watching Morse, the detective drama TV series which made household names of John Thaw as the eponymous Police Inspector and Kevin Whateley as his trustee sidekick Lewis. This new play, written by Alma Cullen who scripted many episodes of the TV series, marks a new departure for the Inspector – a brand new mystery to solve and this time on stage! The action begins with the sudden and unsettling death of a young actress on stage during a live performance. Fear not though, for Inspector Morse just so happens to be in the house! The setting is, rather aptly, a theatre, its backstage corridors, poorly lit dressing rooms and eerie wings the perfect backdrop to the story.

Tom Chambers steps into the role of Morse with ease, delivering a compelling performance. His Morse is introspective, dry-witted, deeply thoughtful and reflective. There are echoes of Thaw’s characterisation here but Chambers very much makes the man his own. He is cerebral, brooding, and unconventionally charismatic. Chambers captures Morse’s idiosyncrasies and sensibilities well, from his love of classical music to his penchant for real ale – this is the very same character you’ll remember if you loved the TV series. Chambers also manages to make Morse vulnerable and fresh for the stage – no mean feat.

Tachia Newall brings energy and intelligence to his right hand man DS Lewis, and plays the character with a dynamism that is compelling to watch. His animated presence works well alongside Chambers’ stillness. These two are a believable police double act and have excellent on-stage chemistry.

The assembled wider cast of players really enrich the storytelling here – Teresa Banham is excellent as Ellen, revealing hidden depths that really make you question her every motive. Spin Glancy is wonderful as Justin, shifting between sensitive soul and nervous wreck with ease and really capturing the jittery energy. Kudos to Robert Mountford who deftly portrays two very different characters, both of whom are suspects.

The play-within-a-play aspect is beautifully performed and really adds to the theatricality of the evening. It’s a great story if you love theatre.

Anthony Banks directs the piece to great effect, making full use of that theatrical setting and using the stage space cleverly. I do feel that the pace is all too occasionally slowed by the scene transitions which require the company to shift furniture on and off stage – these are somewhat lengthy and the accompanying music a touch too loud for my liking. There are also some distracting moments as it is possible for those of us in the stalls to see into the actual wings, the movement of the actors taking their positions and awaiting their cues for the next entrance entirely visible. It feels like there might be some tabs missing – or perhaps this is the intended theatrical effect.

At its core, House of Ghosts asks questions about the reliability of memory, the passage of time and what happens when previously buried truths come to light. Morse is drawn into the melodrama at a personal level, forced to confront his own past and sense of failure. The theatrical setting is metaphorical as well as physical – masks are dropped, hidden audiences and finally seen, players emerge from behind the characters who have up to now shielded them. The clues are all here to be interpreted.

If you’re a Morse fan, you need to see this next chapter in his story. If you’re a fan of British crime drama, you’ll adore the tropes explored here. Moreover, if you love theatre, then this is a wonderfully theatrical story – in the best possible sense of the word. A perfect evening out for those who enjoy their suspense served with a slice of sophistication.

Inspector Morse: House Of Ghosts is at The Theatre Royal, Nottingham until Saturday 4th October 2025.