The Garrick Ensemble was under the very precise direction of Artistic Director Joseph Meighan. The show’s original compositions and sound design, crafted by Mark Goggins, added an atmospheric and dynamic layer to the performance, complementing the immersive staging and courtroom tension. Based on the book; Bad Show: The Quiz, the Cough, the Millionaire Major revisits the infamous Who Wants to Be a Millionaire? scandal involving Major General Charles Ingram, the notorious coughing controversy, and the subsequent trial. Rather than simply recounting events, the production interrogates ethics, probability, and perception, cleverly inviting the audience to question not only guilt and innocence, but the very logic by which truth is constructed in the British justice system and making us all navel gaze about our assumptive opinions.
Meighan’s direction of a very competent cast is stylish and assured, balancing clarity with complexity whilst allowing the story to breathe. The staging is visually striking, with a courtroom framework that sits above the narrative with the game show’s iconic black leather chairs and consoles below with justice observing from above creating some immersive and magical moments.
Pacing is deliberate yet purposeful, sustaining engagement through a long running time that stretches past 10.15pm which kept the audience’s focus. The brain breaks came via pub quiz and voting for the audience using WiFi hand held controllers (just like the real game show). Audience members are invited onto the stage as observers Roman and Greek amphitheatre style. Picasso’s notion that “Art is a lie that makes us realise truth.” is explored during the play of lies and what exactly they are or aren’t. In this visceral theatre—the staged coughs, comedic exaggerations—reveals deeper truths about human fallibility, ethical judgement, and the construction of narrative. The play itself is very clever. I have seen the TV series and the film and fell straight into the trap of believe what you are told. Hands up. Guilty.
Quiz explores the Ingram story through a layered structure, including a prologue, an epilogue, and scenes revisiting key events from multiple perspectives. Familiar facts—the suspended sentence, lingering doubt, and media framing—are reframed through playful theatrical licence, highlighting the difference between perception and truth.
The ensemble cast delivers confident and consistently engaging performances, balancing humour and characterisation. Tom Broughton’s portrayal of Major General Charles Ingram is particularly compelling: he comes across as honest, straightforward, and even sweet, adding layers of ambiguity to the trial. The performance makes the audience question whether the scandal was truly malicious or simply a huge misunderstanding. Interestingly, if the production hints at a “villain,” it is subtly suggested in Diana Ingram, portrayed by Melanie Beswick, whose poise, intelligence, and determination give her character an assertive presence. Being allowed to be privy to the prologue and epilogue of the fiasco we were being challenged to reconsider assumptions about guilt, intent, and narrative bias.
Ben Walsh captures Chris Tarrant’s voice, mannerisms, and timing, energising the quiz-show sequences. Callum Johnson’s geeky and OCD portrayal of Tecwen Whitock, flustered and distressed performance adds humour and empathy, making him relatable. Dan Ellis, the warm-up host, shines in directly engaging the audience, preparing them to participate fully in the immersive courtroom experience.
I loved the segue into game show history and the on stage competitions taking us on a journey through the 70’s,80’s and 90’s including Bulls Eye and the Price is Right . Sadly, no speed boats were one for sailing on the River Mersey but the lucky winners got an ice cream voucher for the interval.
A particularly delightful highlight is a brief vignette of the Ingrams studying general knowledge of soap operas giving the audience a charming glimpse into their preparation. This segues into a hilarious mini-sketch featuring Elsie Tanner, played by Charles McDowell, and Hilda Ogden, performed with charm, wit, and style by Charlie Gallagher, complete with Hilda’s signature screech. That segment drew loud laughter and applause, proving that the production’s humour was landing firmly for this audience. The legal teams, including the slightly stuffy QCs Ella Muscroft and Jay Wise-Martin deliver dynamic, complementary performances as defence and prosecution. Their back-and-forth dialogue maintains tension while subtly planting doubt, leaving the audience almost evenly divided in their judgement—a clever reflection of the play’s central idea.
A particular highlight is Megan Priest, who plays the Who Wants to Be a Millionaire production manager as well as several smaller roles. Her comic timing, energy, and versatility was super making lots of funny moments without undercutting the trial’s seriousness.
Priest’s performance, alongside the wider ensemble, kept the audience engaged and the mood lively. Community support is clearly central to the production’s success. Both onstage and off, local engagement gives the show warmth and immediacy, reinforcing theatre as a shared, collective experience.
This connection strengthens the immersive elements and sustains audience attention throughout the evening, creating a sense of shared investment in the story’s ethical and emotional stakes.
At the end of this frenetic show, there is one final moment where the audience revotes on their verdicts. The vote was almost evenly split—50-50— a fitting conclusion of making biased decisions based upon narrative we are presented with.
This was a highly entertaining spectacle and quite unique. The audience definitely left the theatre talking about and thinking about the Ingrams.
Reviewer - Kathryn Gorton
On - 5th February, 2026.
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