Cambridge Arts Theatre, Cambridge – until Saturday 10th February 2026
Reviewed by Steph Lott
3***
As a lifelong fan of the Inspector Morse television series, I approached last night’s performance of “Inspector Morse: House of Ghosts” with a mixture of excitement and trepidation. Could the stage truly capture the brooding atmosphere and intellectual depth that made the show so compelling? The answer, I’m afraid, is “not quite.”
The production’s greatest challenge rested on Tom Chambers’ shoulders: could he embody Morse without simply mimicking John Thaw’s iconic portrayal? Chambers opts for his own interpretation, presenting a more vulnerable, romantic, and occasionally lighter version of the character. While this shows admirable courage, his reliance on certain mannerisms became somewhat distracting as the evening progressed. I found myself watching the performance rather than believing in the character—a critical distinction that prevented full immersion in the story.
Alma Cullen, who wrote episodes for the original television series, brings undeniable credentials to the script. The play attempts to capture that familiar intellectual, moody, and nostalgic tone we associate with “Inspector Morse”, but it falls somewhat short of the mark. The deep psychological edge that distinguished the TV series feels diluted here, replaced by something more conventionally theatrical.
Fortunately, the supporting cast provides solid ballast. Tachia Newall delivers an empathetic and grounded performance as DS Lewis, offering a necessary counterpoint to Morse’s eccentricities. Charlotte Randle brings faded amusing glamour to her role as the diva Verity, while Jason Done proves particularly commanding when portraying Lawrence, helping to maintain momentum throughout the production.
The pacing presents significant problems. The first act is slow and dense, establishing atmosphere at the expense of engagement. Then, as if overcorrecting, the second act rushes through revelations at such speed that crucial plot points feel confusing rather than satisfying. This uneven tempo undermines the mystery-solving experience that should be the production’s heart.
The “play within a play” conceit feels forced and distracting rather than clever. More frustratingly, there are characters crucial to the action who are referenced but never appear on stage—a theatrical choice that left me feeling cheated. In a whodunnit, we want all the pieces visible before us; having key players exist only in dialogue feels like a storytelling cop-out.
“Inspector Morse: House of Ghosts” suffers from an identity crisis. If you’re seeking an amusing whodunnit for a pleasant evening out, you’ll likely enjoy yourself. The production has moments of wit, the performances are professional, and the Cambridge Arts Theatre is as always, a great setting. However, if you’re hoping for the melancholy Morse, the philosophical musings, and the emotional depth that characterized the television series, you may leave disappointed.
The play isn’t unsuccessful—it’s simply caught; neither a faithful homage nor a bold reimagining. For devoted fans, that’s perhaps the most unsatisfying mystery of all.