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Tachia Newall as Detective Sergeant Lewis and Tom Chambers as Detective Inspector Morse. Picture: Johan Perrson Inspector Morse – House of Ghosts Malvern Theatres **** John Thaw’s Inspector Morse was a national treasure in the late 20th Century, so it is no surprise that great audiences are flocking to see his theatrical resurrection at Malvern Festival Theatre this week. We love a whodunit and here the somewhat world-weary detective works his way through perplexing pieces of evidence, with the help of his put-upon sidekick Lewis. They have to solve the puzzle of the death of Rebecca, the actress playing Ophelia, while performing on stage the tragedy of Hamlet. The context of Oxford, where Morse works, provides the usual backdrop - we have a group of characters who knew each other at college and whose subsequent lives have become entangled. Was it a murder? Was it a suicide? Who had any kind of motive? Was it merely a tragic medical emergency? ost of the characters have little charm, their relationships are often fiery. Morse has the unenviable task of halting the production and unravelling the clues. Tom Chambers leads the cast strongly as Morse with a degree of weary pessimism. He lacks particular charm or warmth, but that is Morse. He is not fulfilled in his life despite his persistence and success in solving the case. Tachia Newall is excellent as his assistant, Lewis. Overtime hours rob his wife and family, he is diligent and loyal, he is the fitting foil to Morse who conducts the investigation. Many of the remaining cast are the eccentric actors in the company producing Hamlet. Jason Done performs the two important roles of Lawrence, the director of the play, and of Paul, the partly reformed Catholic priest. He is very powerful as the bullying director and relatively deadpan and secretive as the priest. The differentiation in his roles is brilliant. Charlotte Randle’s inebriated Verity and Teresa Banham’s complex Ellen add plenty of colour and mystery to the plot. The design for this show is outstanding. The complexity of many scene changes is managed with slick efficiency by a combination of stage properties and furniture, largely moved by cast members, against a very clever backdrop that switches from the theatre auditorium to other settings in the city of Oxford with the use of cleverly lit panels. This lovely production moves at a slick pace, leads us along a puzzling journey with Morse as he works his way through fragments of evidence, finally revealing the ultimate picture. It is a satisfying and nostalgic experience, clearly delighting the audience with a very polished and professional production. Tim Crow 25-02-26 |
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