Writer: Alma Cullen
Director: Anthony Banks
Inspector Morse is a long-established and beloved part of British culture who keeps appearing and reappearing for us to enjoy. Morse was originally created in 1975 in a series of novels by Colin Dexter, before appearing in a highly regarded television show in 1987, with Dexter continuing to helm the adaptation of his character. In 2010, the character made his theatre debut in a play written by Alma Cullen, one of the original screenwriters for the television series. So, after nearly 30 years on our screens, is a new Morse worth watching?
Unlike traditional episodes of Morse, where the beautiful and charismatic city of Oxford plays a role, this play is mostly confined to the backstage of a theatre where a play-within-a-play serves as the backdrop to this murder mystery. Without Oxford, the stage needs to be slick and effective.
Set designer Colin Richmond achieves a lot with very little, using a small number of props to replicate the other key locations used: be it a dressing room, the police station, or the bar at the frequently visited local pub. His use of the entire ensemble to make swift and precise set changes in between scenes is a clever way of replicating the familiar vision of Morse in Oxford, solving the crime as he walks through the city’s streets.
Tom Chambers steps into the shoes of the titular hero. He grows into the performance as the story goes on and becomes more intense, so too his acting as he embodies the role of the frustrated inspector trying to piece together the incident that transpires before his eyes. Chambers’ Morse is deeply reflective and emotionally driven; his physical responses to things happening around him show just how close he is to erupting in anger and frustration. Fans of the original show may spot the familiar mannerisms and inflections similar to other interpretations, but, overall, Chambers adds his own touches and definitely makes the character his own.
Ever the capable and reliable sidekick, Sergeant Lewis, is played by Tachia Newall, who also gives a compelling interpretation of the character, a real juxtaposition between the Oxford intellectual inspector and the working-class sports-obsessed sergeant. Their relationship has its moments to shine, especially with inside jokes, conversations at the bar in the pub, and meta references to the future, like this new portable telephone technology that Morse still refuses to embrace. Unfortunately, their relationship sometimes feels hostile, not two professionals butting heads but more like a supervisor undermining and, sometimes, completely dismissing an underling.
The rest of the ensemble perform their parts well, some performing two roles because of the play-within-a-play element of this show. Charlotte Randle’s performance as Verity is a good example. She is a real gossip who drifts between the other characters, saying just enough to stir the pot without incriminating herself, and relentlessly getting on Morse’s nerves because of their shared history, this dynamic adding some really humorous moments.
However, the pacing of the performance, at times, feels too fast; some scenes feel rushed, practically sprinting from one place to the next, never lingering on a moment or giving the actors or the audience the time to dwell on a revelation or a significant conversation. While the story is still effective and enjoyable, the sometimes lightning pace does diminish the build-up of tension and undermines revelations of critical information, particularly towards the climax of the show. Some moments of significance feel squeezed into the only gaps available, as opposed to being given time in the spotlight.
Overall, while this story lacks some of the razzamatazz of other classic whodunnits and crime thrillers, it is a well-written and performed interpretation of a beloved television show, one that is worthy of sharing the name of the titular hero and one that is well worth a viewing. Fans of the original show and/or Tom Chambers himself will find plenty to enjoy.
Fundamentally, this is just about proper old-fashioned police work!
Runs until 29 November 2025 and on tour
The Reviews Hub Star Rating
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8
