Inspector Morse is one of the most successful and enduring British television dramas of all time, consistently voted among the very best crime series ever made. Created by Colin Dexter and immortalised on screen by John Thaw, Morse has surprisingly never appeared on stage until now. Inspector Morse: House of Ghosts, written by Alma Cullen and directed by Anthony Banks, brings the iconic detective to the theatre, opening with a premise as promising as it is theatrical.
Barrington Pheloung’s haunting Morse theme swells through the auditorium, instantly rousing nostalgia. It is 1987, and a production of Hamlet is underway when the actress playing Ophelia dies suddenly on stage, with Morse sitting among the audience. Treating the audience as witnesses to the suspicious death is an original use of breaking the fourth wall, and the opening moments are genuinely gripping.
The initial shock is well executed, believable, and full of promise. Unfortunately, much of that promise goes unrealised. The play struggles to build emotional tension, possibly because it moves in short, abrupt scenes that allow little time to connect with the characters. It does have the feel of a television script transferred to the stage without sufficient rethinking of what a theatre audience requires. It’s as if the commercial breaks have been retained. The central mystery unfolds in an enjoyable, if fairly predictable, manner, lacking the careful deliberation and intellectual satisfaction that made Morse such a compelling presence on screen.
Tom Chambers takes on the daunting task of stepping into John Thaw’s shoes with commendable restraint. He avoids outright imitation, capturing some familiar vocal inflections and mannerisms while making Morse lighter, more animated, and less world-weary than his television counterpart. Certain character choices, such as Morse’s desire to return to academia, feel underdeveloped, but, arguably, the final lines of dialogue may be the conclusion to that thread.
DS Lewis, played with enthusiasm by Tachia Newall, provides a modern counterpoint to Morse’s old-school instincts, and there is an relaxed chemistry between the two.
It’s easy to imagine that, given the opportunity, the down-to-earth dependability that anchors their partnership would develop.
The moments of real quality are provided by Teresa Banham’s Ellen, who stands out as the emotional heart of the production. Her performance is delivered with quiet authority, nuance, and depth. She commands audience empathy with ease and provides the most truthful performance on stage.
The production itself suffers from a lack of cohesive vision. Acting styles clash, as if different performers believe they are in different shows. I wonder if this is intentional, as we are watching a play within a play. I felt there were some technical issues, such as loud musical stings that overwhelmed dialogue. Visible activity in the wings also took you out of the moment. That said, scene changes are handled smoothly and efficiently, and a rotating set cleverly shifts perspectives.
Ultimately, House of Ghosts is an enjoyable, if unimaginative, whodunnit rather than a psychologically taut drama die-hard Morse fans might hope for. This production will likely appeal most to an audience eager to revisit nostalgically an old friend, rather than to discover something new or revelatory about him.
House of Ghosts runs until Saturday 17th January 2026 and tickets are available here,
https://everymanplayhouse.com/event/inspector-morse-house-of-ghosts/
Reviewer – Adrian Cork
On – 14.01.2026
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