Caroline Graham’s Midsomer Murders: The Killings at Badger’s Drift
Written and Directed by Guy Unsworth
Derby Theatre, Tuesday 24th March 2026
The staging of Midsomer Murders at Derby Theatre lands during a week which marks 29 years since it first premiered on ITV, with the first episode The Killings at Badger’s Drift. This may have contributed to the reason why the theatre had a full house on opening night, but far more likely that this production is a smart, stylish, and surprisingly playful take on the classic whodunnit, captivating even those of us new to the world of Midsomer.
From its opening moments, the production establishes a vibrant theatrical language that feels fresh, playful, and meticulously crafted. The set is warm and inviting – a large cut out steel circle featuring the legend “Midsomer County” at the top, and “Badger’s Drift” at the bottom, is always on hand to remind us of the meta world we are stepping into – but the circle reveals cut outs and backdrops behind that all serve to make the village much larger than the stage. It is immensely theatrical, and intriguing because of it.
Right from this opening moment, accompanied by (what I’m told is) the theme from the TV show playing out, this production hosts the intrigue of a classic whodunnit while embracing theatricality with flair, ensuring the storytelling remains clear and compelling for audiences unfamiliar with the television series, whilst staying faithful enough to the original shows for those who are fans.
The story and set-up are classic who-dunnit. A dead body, some insights into the lead-up to the murder, a couple of detectives and a parade of locals who all seemingly had both the means and potentially a motive. It is almost impossible to discuss the story without revealing a twist or a turn, but suffice to say it unravels in an extraordinarily satisfying way, as more dead bodies are added onto the list, and more suspects are considered.
The real genius, however, is the way in which this story is told, which marks it out as a fantastic and fresh take on the genre.
Storytelling is shared through a truly excellent ensemble cast. Daniel Casey, playing Detective Chief Inspector Tom Barnaby, and James Bradwell playing Detective Sergeant Gavin Troy, are the only cast members who play just one role – but they both give real tour-de-force performances, barely off the stage and constantly holding all of the threads. Casey’s Barnaby is an excellent protagonist, commanding and firm, ensuring the pace never drops, and Bradwell’s Troy, a real joy – his role being not only to be the butt of some of the jokes, but also to deliver discourse to the audience. Julie Legrand gives an absolutely stellar performance as Lucy Bellringer, – the octogenarian friend of the first victim who provides insight and ideas with pace and joy, setting herself up as a third detective, but firmly entrenching herself within the community. It’s a delight when she appears on the stage. A special mention must also go to John Dougall who plays not only the Doctor with a secret, but also puts in an incredible drag performance as local busybody Iris Rainbird who, along with her creepy funeral director son, Dennis (Rupert Sadler) very much steals some of the show.
The whole ensemble cast, however, demonstrate a firm command of both style and pacing. Performers shift effortlessly between sharper dramatic beats and the show’s humour, creating a heightened world that remains grounded in character detail. Each role is drawn with clarity, allowing relationships and motivations to land instantly even without prior context from the TV show.
The show is extraordinarily self-referential – at times breaking the fourth wall, and with the cast dropping in and out of their multi-roles so effortlessly, it swells the performance team of 9 to really make it feel as though we are watching an entire village community. There are a couple of scenes where this comedy is heavily leaned into, with some skilled acting and a bit of trickery that very much lets the audience in on the joke, without detracting from the central storyline – particularly fun is the on-stage interview of Barbara Lessiter and Dickie Whiteley both played (simultaneously) by Chandrika Chevli.
Lighting and music contribute significantly to the show’s distinctive identity, with some nice backlit moments disguising potential reveals of the murderer, accompanied by some lovely sinister music and a few well-placed visual effects.
There are moments in the second act where the comedy turns slightly absurdist, and one particular sequence feels a little dream-like and out of place, but this doesn’t stop the overall production being slick, slightly creepy, complex enough to keep us on our toes, and in-the-know enough to feel as though we have a stake.
A thoroughly enjoyable production, surprisingly humorous, and charming enough to retain fidelity to a much-loved original concept, while freshening it up for a 29th anniversary tour.
