★★★★ Inspector Morse: House of Ghosts - A Murder Mystery Haunted by the Past

Photography by Johan Persson

From page to screen to stage, Inspector Morse has lived many lives and adaptations, and now he has come to solve mysteries at the Lyceum. 

Originally introduced through a series of mystery novels written by Colin Dexter in 1972, Inspector Morse became one of television’s favourite detectives in 1987 when the show began to air on ITV. The modern-day Holmes and Watson, or Poirot and Hastings, Chief Inspector Morse and Sergeant Lewis work together to investigate crimes around Oxford. 

In all honesty, I had not read the books nor watched the series before attending the show. However, the story was a standalone murder mystery, which didn’t require prior knowledge of the series, and was enjoyable regardless. It held its own, and I think fans of the novels or TV show would approve of the production.

A classic murder mystery, the play opens with a death on stage. It was no ordinary death, however. It was the death of tragic Ophelia, or rather Eliza Teale’s Rebecca, who was playing Ophelia in the Hamlet production that ran throughout the story. The production opened using metatheatre, introducing us to the character of Justin (played by Spin Glancy) through his monologue as Hamlet. Once Rebecca’s death threw the production into motion and commotion, the audience was playfully nudged into its own role.

With the introduction of Tom Chambers’ Inspector Morse, the lights brightened, Robert Mountford’s Lawrence emerged from the seating, and the audience at the Lyceum became the audience watching Hamlet in Oxford. I really enjoyed that inclusion and immersion of the audience into the story - it was an entertaining start to the show, and set the tone for its playfulness for the next two hours.

The interactions between Tachia Newall’s Sergeant Lewis and Inspector Morse were key drivers of the comedy. They had a friendly dynamic while contrasting the domestic warmth of Lewis with the moody bachelorhood of Morse. These moments of humour cut through the serious tones of the mystery, providing balance in laughter when the air needs lightening, but not forced, nor distracting. I liked the dramatic irony in the discussion around technology - being set in 1987, today’s all-consuming digital world seemed incredibly far away to the characters, so Lewis’ optimism about its advancements, compared to Morse’s pessimism, was amusing. 

Despite its mirth, the show was a serious murder mystery that captivated the audience. Tension was built with sound, lighting - spotlights, flashing - and ambience. The use of smoke to create a hazy atmosphere, alongside cross-cutting and short, snappy scenes against a detailed set, kept the pace rapid. 

While the mystery unfolded, we saw an insight into each character: their psyche, their history, their ambitions, which created a strong undercurrent of reflection, control, and the hold of the past. It also gave us clues to pull together the threads of the whodunnit, though in true murder mystery fashion, threw a couple of red-herrings to keep us on our toes. 

Without explicit spoilers, I was impressed with the symbolism of the story of Hamlet, particularly around the fate of Ophelia, the mental decline of Hamlet, and the intensity of the past haunting the present. Every moment felt intentional and carefully curated, creating not just a mystery but holding a mirror to our souls.

With some shocking reveals, this show is perfect for fans of murder mysteries and will keep you thoroughly absorbed. Whether you’re new to the world of Inspector Morse, or long-standing fans, I think this is a show that can be enjoyed by all audiences who enjoy mysteries (and perhaps some drama).