Murder takes centre stage in this dynamic whodunnit – a twisty, theatrical treat that breathes new life into a classic character.
There’s something undeniably thrilling about a murder mystery set in a theatre. Add a renowned detective such as Inspector Morse to the mix, and you’ve got the kind of premise that feels bound to succeed. Thankfully, Inspector Morse: House of Ghosts does a good job of living up to its potential. Indeed, it opens with one of the most dynamic starts to a play I’ve seen in a while.
We begin not with Morse, but with Hamlet – or rather, Justin (Spin Glancy) playing Hamley. The production launches with a play-within-a-play conceit, instantly pulling us in: we, the audience, are characters now ourselves, playing the audience watching a performance. Justin is centre stage delivering a melancholy monologue, and Rebecca (Eliza Teale) enters as Ophelia. It’s a clever set-up, heightened by murmurs, background noise and disruption from the ‘audience’ that, for a moment, had me convinced that someone behind me was demonstrating terrible theatre etiquette.
Then, mid-scene, Rebecca drops dead – and Shakespeare gives way to Morse.
Tom Chambers’ Inspector Morse makes his entrance not from the wings but from the back of the auditorium, striding towards the stage as if he’d been sitting in the audience with us. Director Lawrence (Jason Done) leaps to the front of the upper circle, calling down to him. It’s a bold, engaging opening that makes excellent use of the whole theatre space, and immediately establishes this as a production that wants to harness the power of live performance.
For fans of the original TV series (and of course, the Colin Dexter crime novels), this is a strong and respectful adaptation of the character. The mystery itself is satisfyingly intricate, layered with secrets, hidden relationships, and the kind of red herrings and complex revelations that Morse is known for. At times, as the case unravelled further, I’ll admit I found myself scrambling to keep up. The play was moving at a speed that far outpaced my brain slowly connecting the dots! But what keeps it from being too overwhelming is the clarity of the performances – each member of the cast is clearly define, their motivations and personalities distinct enough to keep you anchored even as the plot twists further.
The staging also deserves particular praise – the set makes great use of rotating pieces, shifting us rapidly from backstage dressing rooms to the police station to the pub. Most effectively, the back of the stage features an image of auditorium seats, so that at times it feels as though we really are on stage with the actors, looking out into an empty house. It’s a well-utilised trick that keeps us very much in the moment with the characters, and reinforcing the idea that this mystery is as much about performance as it is about crime.
The characters all take very distinct roles, bordering on caricatures at times, allowing each person to play a clear role in the puzzle – and the production delights in keeping the audience guessing. The interval was accompanied by a hum of excited speculation; it was a lot of fun to overhear my fellow audience members predicting what would happen next. I, too, spent the interval theorising who was guilty (I was wrong). There’s something uniquely communal about a good whodunnit, and this one leans into that.
That said, there were moments when the acting tipped slightly into overstatement. A little more restraint in places might have allowed for greater nuance, particularly with Morse himself. The script offers him the suggestion of an intriguing backstory and hints at an emotional depth that is quite distinct from what’s offered in the television incarnation. I couldn’t help wishing that this production had leant into this more – particularly with such promising material. Chambers certainly captures Morse’s intensity and cynicism, but there’s an opportunity here for more depth that felt just out of reach.
However, these are quibbles in what is overall a thoroughly enjoyable evening. The final twist genuinely caught me off guard (the true test of a good murder mystery) and resolution is both satisfying and dramatically earned. Anyone who loves a cleverly constructed whodunnit, filled with twists and grand reveals, will find plenty to enjoy here.
Perhaps most hearteningly, House of Ghosts feels like a generational uniter. I went with my mum, a longtime Morse fan, and we were surrounded by others similarly sharing the experience with family. Some were clearly there for the nostalgia of a beloved detective, while others like me were there for the thrill of seeing a mystery unfold on stage. The result was a warm, buzzing atmosphere that felt shared – and truly fun.
In short, Inspector Morse: House of Ghosts is a twisty, theatrical treat: smart, playful and taking interesting steps to remind us why we love watching secrets unravel on stage – all while breathing new life into a classic character.
This show runs at The Arts Theatre Cambridge until 14 February 2026, before continuing on tour.