Curve Theatre Leicester – Until 18th April 2026
Reviewed by Amarjeet Singh
3***
Adapting Midsomer Murders for the stage is a delicate task. Its appeal lies in measured pacing, accumulating tensions and the slow revelation of tightly woven village secrets, qualities not easily condensed into a single evening of theatre. This stage version of The Killings at Badger’s Drift largely rises to the challenge, capturing the spirit of the television series even if the execution occasionally feels constrained by the form.
The story unfolds in the outwardly tranquil village of Badger’s Drift, where a suspicious death punctures the carefully preserved civility of rural life. As the investigation deepens, fractures appear among the residents, exposing long-held resentments and uncomfortable truths. The murder of Emily Simpson, an elderly spinster and moral touchstone of the community, sets events in motion. A keen observer, Emily sees too much for her own good, and her death becomes the catalyst for the drama that follows.
Inspector Tom Barnaby leads the investigation, played with calm authority by Daniel Casey. His performance provides an effective anchor for the production, allowing the more colourful figures around him to flourish without tipping into excess. Alongside him, James Bradwell’s Sergeant Gavin Troy brings warmth and humour, and the pair’s easy chemistry offers moments of levity amid the darker elements of the narrative.
Nathalie Barclay delivers a striking performance in the dual roles of Judy Lessiter, a socially awkward loner, and Katherine Lacey, a demure bride-to-be. The characters could not be more different, yet Barclay switches between them with remarkable ease and clarity. The standout performance comes from Chadrika Chevil in the dual roles of Barbara Lessiter, a glamorous and domineering socialite, and Dickie Whiteley, a blunt, working-class groundskeeper. Chevil inhabits both characters with conviction and physical precision, most memorably in a bravura moment where she effectively plays both characters simultaneously on stage, much to the audience’s delight.
Strong ensemble work underpins the production, particularly in the seamless role-doubling and swift costume changes. Chloe Willis’s costume design, supported by Florencia Melone’s wigs, hair and make-up, enables these transitions without drawing attention away from the performances. Simon Kenny’s sliding set is equally effective, shifting fluidly between interiors and village exteriors while evoking both the charm and constriction of rural life.
One of the production’s most inventive moments involves the use of garden gnomes as a visual storytelling device, mapping who was where, and when, during one of the murders.
This device efficiently brings the audience “up to speed” in a way that is both playful and clear. The gnomes reappear in Inspector Barnaby’s fever dream, a highly entertaining sequence that briefly departs from realism.
The first act occasionally labours under the weight of exposition and character introductions, but the second act gains momentum as the plot tightens and revelations come into sharper focus. This imbalance is perhaps inevitable when condensing a densely plotted television narrative for the stage. Nevertheless, the production remains coherent throughout and successfully holds the audience’s attention.
Ultimately, The Killings at Badger’s Drift succeeds because it understands exactly what it is. It does not attempt to reinvent the television series; instead, it finds a sweet spot. It’s affectionate without indulgent, playful without tipping into self-parody. Familiar Midsomer tropes, eccentric villagers, long-held grudges and shocking revelations are delivered with a gentle theatrical wink that respects both the source material and its audience. This production will delight fans of the series while remaining accessible to newcomers. Anchored by strong ensemble work and confident production design, it proves that Badger’s Drift still has plenty of dark secrets left to share.
