The people of Oxford have been practically giddy regarding the return of Inspector Morse to the city in which it was set and filmed, and I was thrilled when asked to attend the press night for the brand-new stage adaptation, House of Ghosts at the New Theatre. The show, written by Alma Cullen, follows a whodunnit story against the backdrop of a production of Hamlet. Morse happens to be in attendance on the night that the young actress playing Ophelia drops dead mid speech during the second act. What ensues is a confusing two hours of detective work paired with the unravelling of events that took place in Morse's college days.
The set and costume design were inoffensive but it struck me that there were no clear clues as to which decade we were in. This was only made clear by an admission from Morse in act two that the year was in fact 1987. Apart from an in-your-face shell suit worn by the director's wife Harriet, there were very few indications of time and style. The set offered an eerie atmosphere throughout and lighting design by Lizzie Powell was effective, especially in the chapel scene. It was nice to hear the recognisable Morse theme sprinkled throughout the show. Used for scene changes, it gave a gentle nod to the show's TV history.
As someone unfamiliar with the character of Morse, I feel ill equipped to offer comment on the authenticity of Tom Chambers' portrayal of the curmudgeonly detective. I do however applaud Tom for bringing laughter and drama to the iconic role while delivering well known lines and recognisable characteristics that the audience lapped up. While we love seeing him glide across a stage in top hat and tails, the eighties cream suit was a welcome change and showed his diversity as an actor.
There were two standout performances for me in this show: first from Tachia Newall as Lewis; and the other from Spin Glancy as Justin, the ingénu lead of the play-within a play. Both performers were a refreshing hit of quirky, light-hearted fun despite the less than savoury themes running through the show. Spin was utterly convincing as Hamlet in the opening scene, and I hope they get the chance to perform the role in its entirety at some point during their (I predict) long career.
I found my attention drawn, not always willingly, to the character of Verity, portrayed by Charlotte Randle. There were moments during the first act where I was taken aback by her punchy line delivery and that sadly brought me tumbling into reality. The performance improved in act two, owing to a better understanding of the character (we discover that Verity has returned to a life of alcoholism after 15 years of sobriety) which gave me licence to forgive her scatty and slightly frantic behaviour on stage.
The show felt a little underprepared, if I'm honest. There were moments where I felt unsure of the performers' ability to recite lines and hit cues. While I appreciate we are early in the run and there were some last-minute cast changes, it felt that everyone on stage wasn't entirely sure what was coming next. It wasn't enough to get me out of my seat, but it did leave me a little unsettled.
I can imagine the cast and creative team were eagerly anticipating the stint in Oxford considering the city's links with the Inspector. As a result, there was a definite buzz in the air from audience members as they settled in for a slice of classic Morse adventure. Unfortunately, that buzz fizzled out not far into the second act and left a distinct air of disappointment limply hanging.
Do we need another iteration of a dated character? I'm not sure. For me, this production brought to life how old-fashioned theatre can be. Some stories, worlds and characters should remain firmly in the past. While some elements of this show impressed me, my overall feeling while watching was one of disinterest. My eyes glazed and I found my mind pondering on thoughts unrelated to the action playing out on stage. I don't always need theatre to shock me, but I do like to be surprised. Alas, this time I was not.