Brighton Year-Round 2026

Midsomer Murders

Nicholson Green Productions and Colin Ingram Ltd

Genre: Adaptation, Dark Comedy, Drama, Mainstream Theatre, New Writing, Theatre

Venue: Theatre Royal Brighton

Festival: Brighton Year-Round

Low Down

Review

There was a distinctly low expectation of yet another TV murder series adapted for theatre. Another vehicle to be kind about: you’ll probably know what I mean. So what was a show doing, comedically sending itself up on occasion yet more ingeniously following Caroline Graham’s first Midsomer Murders book – The Killings at Badger’s Drift? More indeed than the excellent 1997 TV adaptation. And yet producing superb five-star entertainment, breathtaking multi-role acting and the most ingeniously detailed theatre business seen here for months. It helps it’s here both written and directed by Guy Unsworth, arriving at Theatre Royal Brighton till February 7. Fully endorsed by Graham incidentally, who’s thoroughly involved and praised the fast-moving witty script. Don’t miss it. It might be uproarious but it’s faithful, touchingly real and knows what animal it is. Far more badger than bodger. And most of all: is Dicky the Richard who’ll understand?

Seven cast, five of them multi-roling stroll across the stage to sticky ends and morph into others. In one moment we’re in Ken Barlow’s Thirty-Nine Steps territory though no spoilers as to how that plays out. Set in 1995, roughly the time of the TV series’ start (the book was published in 1987) there’s a refreshing theatricality allowing clues and plot to evolve with wit and truth.

One star is certainly David Woodhead’s elegant set and costumes. A leafy set of ribbed wings jut as the upstage is dominated upstage by a circular port window with the Midsomer logo surrounding it. Sounds tacky? The image through it of the hamlet is often replicated on stage as a model doll’s house; with the whole background shifting in tones lit by Matt Hoskins. Who doesn’t scruple to pick out tiny lights of toy houses upstage too, with ingenious shadings. It’s crisp and followed through with a whizz of props – seats, trolleys, easels, rose-bushes (and verbal jokes hang on those). Ella Walsingham’s sound design wraps if occasionally loudly round Max Pappenheim’s repurposing of the original theme.

Four murders, one already perpetrated, one shortly to happen as the play opens.  Julie Legrand is briefly Edith about to be poisoned and morphs into her friend Lucy Bellringer, demanding – no trumpeting – the police investigate Edith’s apparent natural death. That opens up everything, as Lucy intuits what we hear Edith heard: lovers interrupted. Lovers so illicit they’d take drastic measures. Legrand is quite magnificent in her various roles, including nervous spinster Phillis Cadell, adoring the wheelchaired Henry marrying his young ward Katherine Lacey; or the peacock antics of Terry Bazeley. It’s as Bellringer though that Legrand’s voice cuts both comically and clarion-like through the texture. And who’s touched with the greatest humanity.

Daniel Casey’s now been promoted from DS Troy to DCI Tom Barnaby. He captures the laconic Nettles tone admirably, plays straight to the whirl of comedy around him. There’s a heft of authority in his presence. He also anchors the pathos, enjoying a warm scene at the close with Legrand. He strikes sparks off James Bradwell’s DS Gavin Troy: more comically guyed (as it were) yet producing ingeniously brilliant yet entirely wrongheaded solutions. Bradwell’s uproarious yet believable; you feel for him as Barnaby yet again refuses to celebrate.

Nathalie Barclay’s main role, beautiful diamond-cut entitled Katherine Lacey, cuts a graceful white-clad figure, somewhat distressed; as well as star-struck geeky Judy Lessiter, daughter of the doctor. Judy’s in love with Katherine’s artist brother Michael. Elsewhere Judy’s stepmother frustrated younger wife Barbara Lessiter glides blithely across the stage looking for consolation: Chandrika Chevli plays a blinder as Barbara and at other points Dickie Whiteley the postie; as well as sober pathologist Dr Bullard. John Dougall’s blustering furtive doctor has like Legrand a magnificent projection when cornered as Dr Trevor Lessiter. As Iris Rainbird, he enjoys even more furtiveness and is hilarious, popping up even when he’s sort of past his sell-by; and as wheelchair-bound Henry Race, the de facto squire.

Finally Rupert Sadler’s wibbly undertaker Dennis Rainbird, crushed by this mother contrasts neatly with his glamorous Michael Lacey, moody. handsome young artist, always rowing with Katherine.

The cover ensemble appear as police or crime-scene investigators in white: Chris Agha, Rhian Crowley-McLean and stage managers.

The dizzying plot, recruiting details from Graham’s original novel not in the TV series, freshens the franchise. It’s wittily paced and drops details in, allows a telescoping of scenes so the denouement occurs when most are onstage. Human tragedies aren’t skimped, stars are still crossed. And even that pressing question, looking for Richard is – finally – solved. You’ll find out why. Don’t miss this. You’ll be surprised. Particularly if you think you know the badgers.

Casting Director Ginny Schiller CDG, Associate Director Sarah Stacey, Costume Supervisor Bristol Costume Services, Wigs, Hair & Make-Up Supervisor Suzy Barrett, Props Katie Balmforth, Production Manager Matt Jones for GJPM Ltd, Marketing Mark Dolley for Dressing Rooms.

CSM Dominic Whiffin, DSM Jodie Day, ASM Amber Waller, Tech Swing Callum Mack, Sound No. 1 Will Jackson, Sound and Tech Swing James Barnes, Head of Wardrobe Izzy Ribbeck, Deputy Head of Wardrobe Chloe Willis, Wigs and Wardrobe Swing Florencia Melone, Deputy Head of wigs, Hair & Make-Up Laura Pearl.

Press PR Amanda Malpass PR, Producers & General Management Nicholson Green Productions and Colin Ingram Ltd, Producer of Television Series Bentley Productions (for ITV) in association with Allmedia International.

Published February 4, 2026February 4, 2026 by Simon Jenner