JADAR

★★★☆☆

Midsomer Murders is one of Britain’s most successful longstanding series with a massive 24 seasons spanning since its debut in 1997. Why anyone would move to a county with such mortality rates has always been beyond me! Nevertheless, the fascinating mysteries and eccentric characters have hooked in audiences for nearly three decades, with Caroline Graham’s novel series inspiring numerous whimsical storylines. It was only a matter of time before a theatre show was developed to match its Christie counterparts.

Scripted and directed by Guy Unsworth, Midsomer Murders: The Killings at Badger’s Drift adapts the first novel and episode, taking audiences to a sleepy village filled with murderous intent and illicit affairs. After the beloved Emily Simpson is found dead, her best friend, (the aptly named) Lucy Bellringer (Julie Legrand), blows the whistle on what she suspects to be foul play. DCI Tom Barnaby (Daniel Casey) and Seargant Gavin Troy (James Bradwell) investigate, uncovering a giant web of buried secrets. Will they find the culprit before they strike again? Will the story have a killer ending?

Fans of the series will recognise Casey as Gavin Troy, playing alongside co-star John Nettles from 1997-2008. This time, he’s been promoted, stepping into his predecessor’s shoes as Barnaby while Bradwell becomes the new protégé.

Casey is a calm and collected Barnaby, constantly lost in thought as he thoroughly examines the evidence and masterfully leads conversations. In contrast, Troy is a bumbling but studious grafter,  Bradwell creating moments of observant restraint as he dutifully scribbles notes before bursting with golden retriever levels of eagerness. Their relationship is sweet and light-hearted, Barnaby encouraging Troy’s misguided guesses, despite him always missing the mark.

Aside from the detective duo, most of the actors multi-role as the village’s slew of wacky weirdos. Highlights include: the chipper dedicated friend, Lucy Bellringer (Julie Legrand); the snobbish and unnerving mummy’s-boy, Dennis Rainbird (Rupert Sadler); dotty snoop Iris Rainbird and horny husband Trevor Lessiter (both John Dougall); the charming bride-to-be, Katherine Lacey (Nathalie Barclay); and the absurdly giggling shopaholic, Barbara Lessiter (Chandrika Chevli). The characters are as outlandish as Christie’s but made unique in their quintessentially British charm and barmy but believable mannerisms.

Indeed, David Woodhead’s costume designs reflect this variety, each character sporting distinctive rural styles that make it surprisingly difficult to recognise some of the cast members. For the most part, the multi-roleing goes unmentioned, but a clever tongue-in-cheek interview sequence with two characters (both Chevli) involves blackouts and an outrageous half-and-half costume.

The series’ unique blend of hard-hitting drama and playful humour makes its return, albeit with a few hit and misses. There are some particularly amusing word choices, hilariously campy interactions, satirically repeated phrases in ghostly flashbacks, and some amazing stage exits (especially the constantly sliding couch).

While it’s often amusing, there’s something strangely parodic about the show’s tone, almost becoming a hammy flanderisation of the original. An oddly out-of-place gnome-headed, socco-filled dance sequence and a handful of corny detective trope moments make it feel a tad bizarre.

Despite this, its roots in television are noticeable with cinematic scene changes and prop/scenery rotations, usually signalled by the creepy yet dramatic theme tune.

Woodhead’s set consists of a painted shrub and sky backdrop, hanging flower baskets and a centre circle of movable house miniatures framed by a decorative Badger’s Drift gate. The miniatures are an adorable storybook-like addition to the set, also separating locations alongside drop-down set-pieces and rollable props. There’s one very dramatic smoke-filled, shadowy moment in act one that’s sure to shock audiences.

In terms of the story, it’s one of the first times I’ve successfully figured out the culprit from act one – being the only character with enough to lose if their secret affair was discovered. It was a dead giveaway. Saying that, multiple red herrings and extra plot twists sweeten the deal and keep the audience on their toes.

Towards the end, some of the detective work felt a little long-winded, and explanations could have been wrapped a tad quicker. I understand some audience members may want every clue meticulously explained to them but I’d also appreciate a little less handholding since there are three explanation scenes!

Ultimately, Midsomer Murders is a criminally delightful show, sure to entertain nostalgic fans, murder mystery buffs, and series newcomers alike. Its hammy tone is entertaining if not a tad overblown at times. Nonetheless, the quaint set and impressively versatile cast are to die for.