There are some detectives who never really leave us. Inspector Morse is one of them. Long after the final notes of the theme tune faded on television, the character has remained lodged in the cultural imagination, fuelled by Colin Dexter’s novels and the much loved ITV series starring John Thaw, with Kevin Whately as his long suffering yet loyal Lewis. For fans, Morse is not just about murder mysteries. It is about atmosphere, intellect, melancholy humour and a deep affection for flawed humanity. INSPECTOR MORSE: HOUSE OF GHOSTS, now playing at New Theatre Cardiff, understands this inheritance and treats it with real care.
This touring stage production arrives with the weight of expectation that always accompanies Morse. The audience in Cardiff this week clearly knows its detective history, and there is a palpable sense of goodwill in the theatre before the curtain even rises. What the show delivers is not an imitation of the television series, nor a nostalgic exercise. Instead, it offers a theatrical mystery that feels unmistakably Morse while finding its own voice on stage.
We were there for a packed matinee show and the audience, a lot of who were huge ‘Morse’ fans, were not disappointed.
TOM CHAMBERS takes on the title role, a casting choice that initially invites scrutiny simply because John Thaw’s portrayal is so deeply etched into our memory. Tom doesn’t attempt to mimic Thaw, and that proves to be a wise decision. His Morse is sharper at the edges, physically more restless, but still carries the familiar traits. The intellectual arrogance, the flashes of vulnerability, the fondness for music and ale are all present. Tom also brings a lightness of touch that works particularly well in a live setting, allowing moments of dry humour to land naturally with the audience.
Cardiff audiences may feel a particular fondness for Tom, who is no stranger to the city thanks to television work including Casualty. There is an ease in his presence on stage that suggests a performer comfortable with both the space and the audience. His Morse feels lived in rather than performed, which is no small achievement given the character’s legacy.
Alongside him, TACHIA NEWALL plays Lewis, and does so with warmth and quiet authority. Tachia captures the essence of the character without leaning on past performances. This Lewis is thoughtful, grounded, and gently exasperated by his boss, providing a steady emotional anchor for the story. The chemistry between Chambers and Newall is convincing, and their relationship feels earned rather than assumed.
The story itself is cleverly constructed as a play within a play. Morse and Lewis investigate events surrounding a troubled theatrical production, blurring the lines between performance and reality. This structure allows the script to have fun with illusion, misdirection and the nature of storytelling itself, while also paying homage to Morse’s fondness for intellectual puzzles. It is an approach that feels particularly suited to the stage, and it kept us all engaged without becoming overly clever for its own sake.
Just a little advice; make sure you are seated in good time for the start. We won’t say too much other than the opening happens around the audience and kind of includes us.
Although House of Ghosts is a new story, it retains all the elements Morse fans expect. There is a strong sense of place, a carefully layered mystery, and plenty of moral ambiguity. The writing trusts the audience to follow the threads rather than spelling everything out, which makes the final revelations all the more satisfying.
The set deserves special mention. Designed to transform fluidly between locations, it captures both the solidity and the unease that underpin the story. Without overwhelming the action, it creates a world that feels theatrical yet grounded, supporting the play within a play conceit beautifully. Lighting and sound are used with restraint and intelligence, enhancing mood rather than dictating it.
This is very much an ensemble piece, and the whole company deserves credit for bringing the production to life. Supporting performances add texture and pace, ensuring that the stage never feels static. There is a sense that everyone involved understands the rhythm of Morse, the pauses as much as the dialogue, the silences that often say more than words.
What ultimately makes Inspector Morse: House of Ghosts work is its respect for its audience. It does not pander, and it does not try to reinvent a beloved character beyond recognition. Instead, it invites us back into Morse’s world for an evening that feels thoughtful, engaging and genuinely theatrical.
For long time fans, it is a pleasure to see Morse alive on stage in a form that feels true to his spirit. For newcomers, it offers a smart and absorbing introduction. Either way, this is a production that proves some detectives, and some stories, really do have unfinished business.
The production is: Smart, suspenseful, and full of character, an evening every Morse fan will love.
INSPECTOR MORSE: HOUSE OF GHOSTS is at the New Theatre in Cardiff through to Saturday 31st January. For more details and tickets go HERE.
