The legendary detective from Oxford has made his way to Belfast – and with him, a haunting new mystery that blurs the line between stage and reality. Inspector Morse: House of Ghosts, the first-ever stage adaptation of the classic ITV series, brings Alma Cullen’s original story to life with all the intrigue, intelligence and melancholy fans would expect.
The curtain rises on a theatre within a theatre. A scene from Hamlet unfolds until, suddenly, tragedy strikes — an actress collapses mid-performance. What follows is a gripping murder investigation led by Detective Chief Inspector Morse, whose arrival from the audience draws a collective gasp. What begins as a case of on-stage misfortune spirals into something far darker, as Morse and his loyal sergeant, Lewis, uncover secrets that force the inspector to confront ghosts from his own past.
Tom Chambers takes on the impossible task of stepping into John Thaw’s shoes — and manages to make the role his own. His Morse is cerebral, wounded, and quietly magnetic; he drinks, broods, and bristles just as we remember, yet there’s a flicker of warmth beneath the surface. Chambers captures Morse’s contradictions beautifully – the arrogance and empathy, the intellect and insecurity. Tachia Newall’s Lewis provides the necessary grounding presence, his good humour and patience cutting through Morse’s intensity, though one wishes his role were given a little more space to breathe.
Director Anthony Banks has crafted a visually striking and tightly paced production. The set, designed by Colin Richmond, glides from stage door to pub to riverside interrogation room with cinematic fluidity, supported by Lizzie Powell’s evocative lighting and Beth Duke’s sound design. Classical music floats through key scenes — a subtle nod to Morse’s cultured soul — while the iconic Barrington Pheloung theme reappears at just the right moments to stir nostalgia among long-time fans.
Among the supporting cast, Robert Mountford is a standout as the arrogant and self-serving theatre director Lawrence Baxter, a character who seems lifted straight from an episode of the TV series. His scenes crackle with energy and menace. Charlotte Randle brings real pathos to Verity Carr, a washed-up actress battling her own demons, and Teresa Banham lends authority and grace as the grounded Ellen.
If the plot occasionally leans on coincidence, and if the tension sometimes dips between revelations, the story still holds enough twists and emotional weight to keep the audience guessing until the end. The play-within-a-play conceit adds a layer of theatrical irony, cleverly turning the act of performing itself into a metaphor for deception, guilt, and identity — themes Morse has always wrestled with.
For purists, this may not replicate the full gravitas of Thaw’s Morse or the dreamlike melancholy of Oxford’s spires, but House of Ghosts doesn’t try to. Instead, it gives us a new window into the inspector’s mind — a man haunted not just by the crimes he solves, but by the choices he’s made.
As the lights dimmed in the Grand Opera House, the applause was warm and genuine — a sign that Morse’s enduring appeal hasn’t faded with time. House of Ghosts is a thoughtful and atmospheric revival of Britain’s most enigmatic detective, offering enough nostalgia for long-time fans and enough suspense to captivate a new generation.
⭐️⭐️⭐️⭐️☆
A compelling, classy night of theatre — intelligent, stylish, and satisfyingly mysterious
Discover more from LoveBelfast
Subscribe to get the latest posts sent to your email.
