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

★★★★

“Each performer is in tune with the requisite balance of light and shade – humour and suspense”

Agatha Christie’s Belgian detective, Hercule Poirot, has become one of the most recognisable figures in detective fiction, first appearing in print over a century ago. So popular was he, that when he died from a heart attack in the 1975 novel, ‘Curtain: Poirot’s Last Case’, Poirot was the only fictional character to receive an obituary on the front page of the New York Times. It is no surprise that the dignified and diminutive detective found himself portrayed in film by the likes of such heavyweights as David Suchet, Peter Ustinov and Kenneth Branagh.

Anyone who steps into his shoes has a formidable legacy to live up to. Mark Hadfield, in Ken Ludwig’s touring stage adaptation of “Death on the Nile”, slips into them comfortably. Stylishly directed by Lucy Bailey, the assumption is that the majority of the audience will know the story, so characterisation and atmosphere take centre stage, with the mystery sidelined to the wings. Bailey still manages to keep the suspense, opening with a London street scene in which two lovers are entwined in romantic complicity. Poirot watches on as the mist swirls. We are in film noir territory before Hadfield steps out of the shadows and speaks directly to us. A glint in his eye, and subtle inflections in his accent, are a tacit and conspiratorial directive not to take things too seriously. In fact, as the play progresses, we increasingly realise how adept Ludwig is at eking out gentle humour from Christie’s story.

A glittery party at the British Museum introduces the principal characters, before the action shifts to the Nile cruise ship. Designer Mike Britton leads us from land to water with impossibly slick dexterity on his two-tiered set. Slatted panels slide and shift revealing layers and secrets. There is an undercurrent of furtive activity behind the main action downstage. Mic Pool’s sound design mixes folksy Egyptian musical motifs with the lapping waves of the Nile and nighttime cries of wildlife; while Oliver Fenwick’s lighting follows the various moods with precision. Evoking the setting, too, are the costumes with their mix of muted beiges for the men and floating, art deco chic for the women.

The play moves at quite a pace. It is no spoiler to reveal that a gunshot closes act one while the discovery of a dead body introduces the second act. From here Poirot moves towards his conclusion in breathtaking time. Unusually, not everyone is a suspect – the detective has already narrowed it down a fair bit. That doesn’t prevent us from getting to know the delightful personalities that have followed each other (unwittingly or otherwise) onto the ship. Central to the piece are newlyweds Linnet (Libby Alexandra-Cooper) and Simon (Nye Occomore). Simon, unfortunately, was hitherto engaged to the furious Jacqueline de Bellefort (Esme Hough) who seems intent on some sort of revenge (but remember, all is not what it seems). Each performer is in tune with the requisite balance of light and shade – humour and suspense. Bob Barrett, as Poirot’s old friend and sidekick Colonel Race, is a delight to watch. Glynis Barber’s hack-writer-turned-ham-actress Salome provides wonderful comic relief. The cameos and ensemble are all as important as the lead players, but it is Alexandra-Cooper’s stage debut as Linnet that shines. A natural performer and a name to look out for.

A couple of clumsy moments are in danger of tripping up the otherwise slick flow, but the tour has only just set sail, and these will be ironed out in due course. Yet the confidence of the company steers it through its choppier moments. And the sense of fun is truly infectious. The customary denouement when Poirot calls everyone together for his summing up is greeted with derision by the characters as they momentarily break out of their roles. ‘I hate this part’, says Colonel Race. ‘I love it’ retorts Poirot. An epilogue, delivered direct to the audience, neatly gives us closure.

This interpretation of “Death on the Nile” has a style all of its own. There is only one verdict, really, and it doesn’t need a Belgian detective to spell it out. Go and see it for yourself. Et, viola… Mon ami!

Tag Archives: Richmond Theatre

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”