MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

Richmond Theatre

★★★★

“it is a joy to mingle with these quirky characters, brought to thrilling life by a talented band of actors”

Back in 1997, the body of Emily Simpson, a gentle, orchid-loving, older lady was found in her cottage in the rural, sleepy, chocolate-box village of Badger’s Drift. Her friend, eccentric spinster Lucy Bellringer, was adamant – despite the doctor’s diagnosis – that she was murdered. When proven right, the village descended into panic, the murderer strikes again, and millions of television viewers across the UK watched in delight and fascination as the quirky villagers spun their bizarre secrets around the mind of DCI Tom Barnaby (and his sidekick Sergeant Gavin Troy). The end of the millennium was in sight, but this could have been the forties or fifties. The wit and charm and appeal of the television series secured itself in the nation’s hearts within that first hour, and it is still going strong.

Based on the series of novels by Caroline Graham, that first episode has finally reached the stage, adapted and directed by Guy Unsworth. Murder mystery has always been an engrossing genre for theatre, inviting the audience to participate in their own minds and become one of the lead players trying to solve the puzzles. “Midsomer Murders: The Killings at Badger’s Drift” is no exception as it recreates the original, keeping the light-hearted, whimsy spirit. At times it almost seems like a spoof. It is often absurd, occasionally surreal, and invariably funny. The veiled shadows that supposedly lie beneath the surface are glimpsed, although they are not quite so deep and dark as we have been led to believe. Suspense may be lacking, but wit and silliness thrive, and it is a joy to mingle with these quirky characters, brought to thrilling life by a talented band of actors.

Daniel Casey has been promoted. Having played Sergeant Troy on the small screen, he now takes the helm as DCI Barnaby. A cool presence, he is unfazed by the craziness that surrounds him. James Bradwell’s Troy quietly and comically misreads the situations that Barnaby sees straight through, until he truly comes into his own, well and truly grabbing hold of all the wrong ends of all the sticks. But you can’t really blame him. These villagers are a secretive lot, and it is no surprise that each and every one is the main suspect at some point. Lucy Bellringer further embodies the confusion when she dramatically declares that “I am not what I am”. Julie Legrand brilliantly portrays this offbeat oddball, alternately guiding and then tripping up the investigation. We could all do with a bit of guidance, but we need no help in being tripped up as we come face to face with the subjects of Barnaby’s investigation. Alibis are like cockroaches that disappear as soon as any light is shed on them. First up is local GP, Trevor Lessiter, (a marvellous John Dougall) whose false defence hides a shady secret that Dougall expertly reveals later with a deadpan humour. His wife (Nathalie Barclay) is just as weighed down with whispered secrets that arrive as so-called ‘wrong numbers’ on the telephone. Dougall amazingly, and unrecognisably, reappears as local busybody, Iris Rainbird, who keeps a scrapbook of all the goings-on. Her son Dennis, the local undertaker (Rupert Sadler), is deliciously camp with a sinister sneer. For reasons that you must discover for yourself they are both struck off the suspect list fairly early on.

It is a surprise, at curtain call, to see how small the cast is. Doubling and trebling abound. Nathalie Barclay also convincingly and sassily plays gold digger Katherine Lacey, betrothed to rich widower Henry Trace (yes… Dougall again). Rupert Sadler re-emerges as Katherine’s artist brother, Michael, who opposes his sister’s ambitions. Or does he? You need to be on your toes to keep up. David Woodhead’s various sets certainly help matters, slickly sliding on and off, stage left and right and up into the wings. The sense of location is precisely signposted, as is the sense of foreboding, triggered by Matt Haskins’ lighting. Max Pappenheim’s filmic music adds further to the atmosphere, orchestrally lush, complete with the recognisable theremin sound that creates the necessary menace.

Yet what stands out above the slender menace is the mischievous humour. I have barely touched on the various plot twists, for obvious reasons, but it is safe to say that at each turn there are the joint hazards of a surprise and a laugh. Caroline Graham’s wonderfully eccentric characters have travelled from the novels to the television screen – but the theatre is where they truly flourish. And where they come to life in this fast paced, witty and bizarre setting. Never has murder been more fun.

MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

Richmond Theatre then UK Tour continues

Reviewed on 30th October 2025

by Jonathan Evans

Photography by Manuel Harlan

Previously reviewed at this venue:

DEATH ON THE NILE | ★★★★ | October 2025

THE 39 STEPS | ★★★★★ | April 2024

DRACULA | ★★★ | March 2022

MIDSOMER MURDERS

★★★★

“There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch”

The opening of Eduardo De Filippo’s “Filumena” finds the title character on her deathbed with Domenico, her partner of twenty-five years, gallantly agreeing to marry her before she gasps her last breath. However, we never see this – it all happens before curtain-up, in another room of Domenico’s opulent Neapolitan villa. What we do witness, though, is the aftermath when Filumena miraculously springs back to life and the ruse is revealed.

Matthew Kelly, as Domenico, is in his element as he wails to the heavens at the injustices of finding himself duped. Not only is his pride wounded, but his plans of marrying the much younger Diana are annihilated. Felicity Kendal’s Filumena is no fool. A pocket-rocket of passion she gives as good as she gets, and we soon learn that her motives are far more honourable than mere vengeance. The couple have lived together for a quarter of a century, ever since the wealthy Domenico lured Filumena away from her life of prostitution and, although that particular career path is a thing of the past, there are three things that have followed her into her dotage. Namely three sons – now strapping lads in their mid-twenties. Filumena wants the wedding ring on her finger to legitimise them. Domenico is having none of that; so cue the lawyers, tantrums, buried grievances, hidden mistresses, histrionics and De Filippo’s gorgeous, if lengthy, dialogue. The two protagonists have much to get their teeth into, and they do so with abandoned relish.

The Italian fervour is slightly sanded down in Keith Waterhouse and Willis Hall’s translation, but it still retains a potent mix of acidity and affection. Kendal transforms her character from that of a calculated schemer to a woman with a deep inner strength, warmth and hard-won resolve. Kelly’s sense of privilege is challenged, not just by his mistress, but by an awakening empathy and brooding responsibility. It is no spoiler to tell you that one of Filumena’s sons turns out to be Domenico’s too. But which one? The second act opens with a delicious scene in which Domenico steers the seemingly casual conversation to try and detect in the young men any genetic similarities to himself.

But it is far from a two-hander. The supporting cast are excellent. Gavin Fowler, Fabrizio Santino and George Banks each have a chance to share the spotlight. It is perhaps a little odd that they are so accepting of their new circumstances, having only recently discovered who their mother is. We presume, too, that they have each been brought up independently, although the sibling dynamic is strong. Sarah Twomey’s Lucia, the maid, is loving the family upheaval. Flirtatious and vivacious, Twomey lights up the stage at every opportunity.

Morgan Large’s lush drawing room set gives us a real sense of grandeur although less of a feel of the period and the Neapolitan, sun-kissed location. Yet it sits well with the timeless nature of the action. There might have been more resonance when Filippo wrote the play in the immediate aftermath of the second world war, but the more contemporary backdrop translates well, sometimes making the wavering Italian accents seem unnecessary.

Sean Mathias’ slick direction vividly animates the static setting. It is a very wordy play, but at least there are as many moments of humour as well as insight and wisdom that Mathias brings to the fore. And the lead performers’ energy refuse to allow any dull moments to slip in. There are complex emotions and issues on show here, that are delivered with warmth and humour – and at times with quite a punch. When Filumena finally learns how to cry, we feel her tears too, yet the journey there has also been filled with plenty of laughter.

Tag Archives: Julie LeGrand

MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

★★★★

UK Tour

MIDSOMER MURDERS: THE KILLINGS AT BADGER’S DRIFT

Richmond Theatre

★★★★

“it is a joy to mingle with these quirky characters, brought to thrilling life by a talented band of actors”