Theatre Review: Inspector Morse – House of Ghosts
Author: Alma Cullen (based on the books by Colin Dexter)
Director: Anthony Banks
Venue: The Arts Theatre Cambridge
Performance: 10 Feb 2026
Inspector Morse has long been a beloved show, with its blend of intellectual mystery and engaging characters. Whether you remember the intelligent, yet curmudgeonly Morse portrayed by John Thaw, or the younger, more awkward version by Shaun Evans, one wonders how this iconic TV series will translate to the stage. This production maintains the tone of the show: a police drama without car chases, sex scenes, or swearing, just the thoughtful, intellectual storytelling against the backdrop of Oxford.
The play is written by Alma Cullen, who penned four of the original TV dramas, ensuring a deep understanding of the material, and is directed by Anthony Banks, bringing engaging visual experience and using both the real and staged auditorium to good effect.
The production is set as a mystery within a theatre company, with actors playing actors in a play within a play. The opening scene sets the tone: during a performance of Hamlet, actress Rebecca (Eliza Teal) dies suddenly on stage, to the horror of co-star Justin. Enter Inspector Morse, played by Tom Chambers, who strides through from the auditorium, (where he has been watching with old chum and romantic interest Ellen), and takes control of the investigation. Alongside him is trusty sidekick, Lewis (Tachia Newell), and together they begin to unravel the mystery of Rebecca’s death. As the investigation progresses, the other characters, actors and suspects alike, reveal their hidden secrets.
The story winds and twists and keeps our attention, as the obnoxious, womanising director Lawrence (Morse’s nemesis from college days), falls under suspicion, while fellow actress Verity falls off the wagon and Justin is falling apart. Meanwhile Morse’s familiarity with many of the suspects – having known Lawrence, priest Paul, washed-up actress Verity, and academic Ellen from his Oxford days – adds layers to the story (although should probably eliminate him from investigating). Meanwhile, two key suspects are missing, and the Chief Superintendent believes Rebecca’s death was a suicide. Will Morse prove him wrong? Can he untangle the complex web of past and present relationships and uncover what happened 25 years ago to solve the mystery?
Chambers and Newell successfully carve out their own interpretation of the iconic detectives, without imitating the original portrayals of Thaw and Whately. Morse’s character here lacks the grumpiness and authority of the TV version and the familiar flashes of genius are absent. Newell’s Lewis makes a youthful, energetic and more objective foil for Morse, but the dynamic between Morse and Lewis has less opportunity to develop. It feels odd having Freddy with a Geordie accent while Lewis has a mild undeterminable Northern accent.
The supporting performances are strong, with Teresa Banham as Ellen and Charlotte Randle as Verity delivering particularly memorable portrayals, while Jason Done carries off a spectacular doubling as both Lawrence and Paul.
The set design is stylish, with a backdrop of the theatre stage, wings and backstage areas. Rear doors open onto a backdrop of an auditorium from the stage, creating a layered effect as we watch from the real auditorium. Props are cleverly used to transition between various locations – such as the church, police station, and pub – which keep the production visually interesting. The staging mirrors the TV show’s ability to flip between scenes, using overlapping sets to maintain the pacing and flow of the narrative, and featuring sound effects such as sirens, music and the inimitable theme tune to recreate the atmosphere.
Overall, it is an enjoyable evening, offering a solid stage adaptation of Inspector Morse. The intricate plot and thoughtful execution make a good attempt at capturing the magic of the original TV series.
