Was there a moment when you realised you wanted to be a professional performer and is there a role that changed everything for you?

Stephen: “I was obsessed with John Travolta in ‘Grease’. I went to watch it in London when it first opened. I was obsessed – I thought, ‘I NEED to be in theatre’. That changed it for me really. I used to watch the film all the time.”

What was your first reaction when you found out you’d be playing Frank in ‘The Rocky Horror Show’?

Stephen: “Well, I couldn’t believe it first of all. When I originally wanted to audition for Rocky, I thought I’d be up for Brad and then they said, ‘No, we want to see you for Frank’. When I got it, I was ECSTATIC, I couldn’t believe that I got this role. But in the next moment, I was really anxious because it’s such an iconic role, I just want to live up to the legacy”.

Frank is such an iconic character, how do you bring your own twist to the role while honouring the legacy of past performances?

Stephen: “I remember that Christopher Luscombe, the director, said, ‘We don’t want you to do an impersonation of Tim Curry, we want to see your version’, which actually settled me. I portray Frank using an American accent instead of an English accent. Obviously, Frank’s costume is quite feminine, so I do inject an element of masculinity into my performance – my take on it is a little bit rough around the edges. The audience has mixed feelings about Frank which I love. He is a lovable psychopath! Because the character was written during the 70s glam rock era, I take inspiration from David Bowie, T. Rex and Queen. But I always find something new every performance, which makes playing this role so exciting”.

What’s your favourite part of performing as Frank each night?

Stephen: “There are two moments. One is my entrance. I’m not on stage for the first 20 minutes and the audience are waiting for Frank to come on. There’s a big drum beat before I enter and I’ve got this big old cloak on. I walk down centre stage and sing ‘Sweet Transvestite’, whip off my cloak and reveal my crazy costume. The audience goes absolutely berserk for it. It doesn’t matter if I’ve had the worst day in the world – it goes away as soon as I’m on that stage. Another special moment for me is when you see the vulnerable side of Frank. It’s like he’s taken off his mask and you’re seeing the true side of him”.

The audience plays a huge role in the Rocky Horror experience. Do you have a favourite audience interaction or reaction so far?

Stephen: “There are loads of shouts throughout the show. The audience are very much part of the show; they are almost another character. I’ve heard pretty much all of them now, so they don’t tend to catch me out. When I’m talking to Rocky when he first comes out there are a few shouts that are quite rude, and I love them! I think they’re really funny”.

What’s the most challenging part about playing Frank, either physically or emotionally?

Stephen: “It’s not wearing the heels – I absolutely love wearing those – it’s actually wearing the black corset because it doesn’t give. I make sure I eat at the right time, otherwise I struggle throughout the show. Singing and dancing in a corset means I must make sure that I eat and drink enough at the right time before doing the show”.

Frank has some iconic costumes; do you have a favourite outfit to wear on stage?

Stephen: “My favourite outfit is my finale red sequin corset. I absolutely love it. It really fits me like a glove! And it changes colour. If you push it up, it goes a black, if you push it down, it goes red”.

If you could keep one piece of Frank’s wardrobe for yourself, what would it be?

Stephen: “I do a few scenes with a leather jacket with tassels on it. I’m a motorcyclist so would love to steal it and ride my bike wearing it!”

The Rocky Horror Show has been pushing boundaries for more than 50 years. Why do you think audiences keep coming back after all these years?

Stephen: “It’s a show that celebrates what it means to be different, to follow your dreams like the song ‘Don’t dream it, be it’. There are amazing songs; I don’t think you could ever get bored with the ‘Time Warp’ or ‘Sweet Transvestite’! It’s got a lot of heart, it’s extremely funny, and it allows people to be part of it – there’s no other show like it”.

Do you have any pre-show rituals before stepping into Frank’s heels?

Stephen: “I don’t really have any pre-show rituals. But I do love makeup. Before ‘Rocky Horror’, I never liked using make-up, now I absolutely love it. As soon as I start putting the makeup and wig on, it transforms me, like I’ve got an alter ego!”

Finally, what do you hope audiences take away from seeing The Rocky Horror Show?

Stephen: “I think everyone who comes to watch the ‘Rocky Horror Show’ will have fun. It’s unique, liberating, funny, fierce and sexy. It’s a brilliant night out where everyone can be who they want to be. It’s one great big party!”

Richard O’Brien’s Rocky Horror Show tour comes to Manchester’s Palace Theatre on 27 July to 1 August 2026.

The post Stephen Webb opens up about being Frank-ly fabulous Sweet Transvestite appeared first on Quays Life.

Loosely based on Bizet’s ever-popular opera, ‘The Car Man’ has one of the most thrilling and instantly recognisable scores in New Adventures’ repertoire. The familiar 19^th century Spanish cigarette factory becomes a greasy 1950s garage-diner in the American Mid-West where the dreams and passions of a small-town are shattered by the arrival of a handsome and enigmatic stranger. Fuelled by heat and desire, the inhabitants are driven into an unstoppable spiral of greed, lust, betrayal and revenge.

The show orginally premiered in 2000 and, aside from a unique revival for The Royal Albert Hall’s 150th Birthday in 2022, this is the first time audiences have had a chance to see it live on tour since 2015.

We caught up with choreographer Sir Matthew Bourne to find out more:

Why were you first attracted to Bizet’s Carmen?

Matthew Bourne: “I resisted it for quite a while because there were so many versions of it, both ballet and opera, but I kept listening to the score and I felt that it was the right kind of music for my company, New Adventures. I also felt in 2000, when I made the original piece, that it suggested a different kind of movement than we had done before. It was particularly listening to the Shchedrin arrangement (the short 40–minute ballet version using only strings and percussion) which got me really excited and I thought, we’ve got to do this, we’ve got to use this music. But to stop myself, and probably everyone else, thinking, ‘Oh no, not another Carmen’, I thought, well, we’ll use the music but we’ll tell a different story and that’s what really inspired me and made the whole thing feel like a totally original project. I was also keen to create a ‘dance thriller’, full of plot twists and suspense. You can’t do that with a story people already know!”

How does New Adventures’ The Car Man differ from the original Carmen?

Matthew Bourne: “Quite a lot but there are parallels with the opera story; there are elements of lust, fate, revenge and murder and all those things that are associated with Carmen. I think the essence of Carmen is there, but we’ve set it in a different place and time. ‘The Car Man’ is set in an Italian-American community in a small mid-western American town in the 1960. Although it’s set in the USA there is quite a European feel to the production and although there are some obvious American elements, we’ve tried to add a gritty kind of realism, associated with Italian, French and Spanish cinema, and to avoid Hollywood glamour”.

So place is not so important, it’s the flavour and feeling of the period that matters?

Matthew Bourne: “Well, we came up with a name for this fictional town, which is Harmony – it’s also by chance the name of several real towns in the States. I was looking for something charming like Pleasantville, a name that could become increasingly ironic as the story develops. The characters are very gutsy and real, requiring a whole different acting style from much of the New Adventures repertory. It was certainly a change of direction in 2000 following the royal court and lakeside fantasy of ‘Swan Lake’ and the more genteel period feel of our war-time ‘Cinderella’. ‘The Car Man’ has always been a piece that has challenged my company as actors too. The movement that came from this was also much more earthy and gritty and contemporary in feel. You could call it a classic film noir but one that tells a story that no film of that era would have been able to tell! In dance terms, 26 years on, it remains a comparative rarity, as the first ballet to depict bisexuality as a major part of the plot”.

Earlier you mentioned the orchestration by Rodion Shchedrin being only 40 minutes long, so presumably the other hour of music was commissioned?

Matthew Bourne: “Yes. I really love the Shchedrin music and wanted to use this so I contacted Terry Davies and asked him if he would consider composing further music based on Bizet’s ‘Carmen’. There is a substantial amount of great music that Shchedrin did not use in his version, and so Terry’s brief was to use this other music, again with strings and percussion, to come up with a full-length score. With other shows that I had choreographed, ‘Nutcracker!’, ‘Highland Fling’, ‘Swan Lake’ and ‘Cinderella’, I had worked to an existing score and I made the story fit the score but with this piece, I was able to work in reverse for the first time, so with certain scenes or dances I was able to ask, what kind of music do we need for this? In that sense, it was the first time I had collaborated with a composer to create a complete score. I think that the results are very filmic and incredibly contemporary in feel. A tribute not only to Terry and Shchedrin, but to the enduring genius of Bizet”.

You were talking earlier about the characters being different from the original Carmen. Is there a title Car Man character?

Matthew Bourne: “The title of the show is there partly to differentiate between this production and previous versions of ‘Carmen’, but also to give an indication that we are retaining elements of the original, particularly in the case of the music. In terms of character, the title is quite literal really and it relates to the idea of mechanics working in a garage where most of the production is set. More specifically, it refers to the character of Luca, a stranger who arrives in Harmony at the beginning of the show and takes a part-time job as a mechanic at the local garage / diner. He is really the Car Man, the title character. Luca is a kind of fate figure who affects everyone’s lives and becomes the catalyst for change. Lana can also be seen as a Carmen figure, as can Angelo and Rita be seen as nods to Don Jose and Michela”.

So why revive The Car Man In 2026?

Matthew Bourne: “Apart from the special Albert Hall London revival in 2022 to celebrate the iconic venues 150^th Birthday, the show has not been seen around the UK, on tour, for over 10 years. ‘The Car Man’ has become one of New Adventures’ most popular productions since its creation in 2000. It’s also probably the most popular show amongst my dancers who all want the chance to play these challenging roles. There is now a whole new generation of talented New Adventures artists ready to take up that challenge and that has to be one of the other main reasons for bringing it back into the repertory in 2026. It’s a particular favourite of mine because it combines my great love of cinema with a highly theatrical approach. It also gives me a great excuse to revisit many of my much loved old movies for research!”

Matthew Bourne’s The Car Man is at Lowry. Salford from 23-27 June 2026. Age recommendation 12+

The post Matthew Bourne on The Car Man and Ballet’s Bisexual First appeared first on Quays Life.

“Hi Lorraine

Meet Steve. Steve is Safeguarding and Crime Prevention Lead for TPE and proud owner of Nya the Therapy Dog.
They’d love to meet up with you as we chatted about a while ago and I expressed your love for all things animal.”

And so, began my communication with Steve O’Callaghan, Safeguarding and Crime Prevention Lead for TransPennine Express, not forgetting the wonderful Nya!

Nya is a Pets as Therapy registered German Shepherd and the first dog in the UK to be officially registered with a Train Operating Company.

Having spent the past 20 years as a Police Officer, Steve left his role as Police Sergeant to take up his groundbreaking role as Safeguarding and Crime Prevention Lead for TransPennine Express. Steve’s work centres around the safety and well-being of both passengers and staff with a strong focus on putting measures in place to support people’s mental health and wellbeing.

I asked Steve how it all began…

“I have owned dogs most of my life and currently own Nya, a 6-year-old German Shepherd. I have always known the benefits that dogs can have on people and last year I registered Nya as a therapy dog through Pets as Therapy, the leading national charity for animal assisted therapy in the UK. Throughout the beginning of last year, I worked closely with our Occupational Health department to bring to fruition an idea of incorporating my passion for dogs and safeguarding due to the multitude of benefits that dogs gave on people’s health and wellbeing”.

In May of last year Nya officially started her new role and I’m now proud to say that TransPennine Express is the first train operator to have its own therapy dog which can offer support to passengers and staff. On her first operational day Nya supported a vulnerable female passenger in crisis, helping her break a chain of negative thoughts. Nya has had 100s of positive interactions with both staff and passengers since the project commenced. She quickly became a familiar and calming presence across the network. With her gentle temperament, she began helping everyone from worried young travellers to adults having difficult days.”

I had a look at Nya’s biography, and it is celebrity worthy! She has been featured on BBC Radio 5 Live, Good Morning Britain, Storm Huntley Show, BBC’s Look North and That’s TV South Yorkshire. Only last month Nya became the first canine contestant to feature on the BBC TV game show “Bridge of Lies” She has been featured across national media, government departments, and major safeguarding campaigns including World Suicide Prevention Day, World Mental Health Day, Stress Awareness Week, and Brew Monday.

It wasn’t long before Nya had her own online presence she has hundreds of followers on social media platforms.
On day two ‘in the job’ Steve and Nya travelled to Manchester Airport Station to be interviewed by ‘Mancunian Matters’.
As year two dawned for them, I arranged to meet Steve and Nya on one of the platforms at Manchester Airport Station. I was greeted by Steve and Nya and with what I instantly labelled as “Team Nya.” I met Tom Gilmour-Seconded PCSO from British Transport Police (BTP), Rachael Cobain-Seconded BTP Liaison Sergeant, Ian Hutchinson-Safeguarding and Crime Prevention Coordinator for TransPennine Express (TPE), Debbie Easby-Lead Occupational Health & Wellbeing Specialist for TPE and John Merritt-Seconded PCSO from BTP, all enthused about the benefits of Steve and Nya’s role.

Over coffee and dog treats, with many lovely interrupts from members of the public coming up to meet Nya, I was able to hear from Steve about his and Nye’s educational work. In November last year they presented to 400 pupils at Oasis Academy, Manchester, on safeguarding and the benefits of Pets as Therapy. The visit formed part of the operator’s early careers strategy, which aims to build strong partnerships with schools and create new opportunities for young people to explore the diverse roles within rail.

The programme includes career talks, workplace visits and structured work experience, supporting the government’s goal for every child to complete 10 days of work experience.

Nya proved to be the star of the morning, winning over students and staff alike while helping to highlight the importance of wellbeing in the workplace.

Steve said “It was brilliant to meet so many enthusiastic young people. Their energy and curiosity were infectious, and Nya certainly helped make the day one to remember. Engaging with schools like Oasis Academy gives us a real opportunity to inspire future generations and show that the rail industry has a place for everyone.”

Like all good celebrities, around Christmas Nya wore her Christmas outfits and travelled to Manchester Airport Station to meet with the children from Peel Hall Primary School.

While Nya was doing what she did best, Steve was not idle. As Nya took her well earned breaks Steve decided to write a book “Nya the Train Dog – a Tale of Safety and Smiles.”

On 5 March 2026 on World Book Day, the book was launched at….Crufts of course!

Steve said: “I recognised the natural way that children and families were drawn to Nya, and I wanted to harness that curiosity to create a gentle, engaging way to introduce safeguarding and rail safety messages though an educational and friendly narrative.
“It will encourage children to stay clear of the platform edge, stick close to a trusted adult, know when to ask staff for help, and understand what to do if they are lost.” The campaign will also extend into classrooms, with visits to schools supported by the company’s new Police Community Support Officers, who will help reinforce the book’s key safety themes.

Steve added: “I hope children enjoy reading this book as much as I’ve enjoyed writing it and Nya and I can’t wait to meet you all out on the TransPennine Express network when you’re next catching one of our trains.”

Nya’s fame is continuing to spread as her work as a Pet Therapy Dog becomes ever more in the public eye. Hot off the press – Nya will be off to the House of Commons because Nya has been chosen as one of the National School Dog Alliance’s Top Dogs of 2026!

Nya no doubt wagged her tale when Steve read the email to her: “Congratulations on this wonderful achievement, the judging panel was extremely impressed by the work you are doing and the positive difference it is making within your setting.”

Nya The Train Dog: A Tale of Safety and Smiles is available to read free online.

The post The dog taking the stress out of train journeys appeared first on Quays Life.

The patient, dedicated and methodical Barnaby was played on TV for 13 series by John Nettles. “Barnaby and Troy had an almost father/son, mentor/pupil relationship and that is very much like my relationship with John. When he learned that I was taking on the role in the play, he said, ‘Well, he’s learned at the feet of the master’,” Daniel says with a smile. “That is certainly true.

“John’s advice to me has always been ’Be true to yourself,’ so that is how I have approached playing Barnaby.”

The pair starred together in the hugely successful murder-mystery show from the pilot episode, which was shot in 1996 and aired in March 1997, through to Daniel’s departure in 2003. The actor says of Nettles: “I spent all those years standing next to him, watching and listening, so hopefully I have absorbed a bit of his magic. It’s a bit daunting, because his are big shoes to fill, but I’m really excited about doing it. I think it is important not to do an impression, so I will be bringing my own ideas to the role, while honouring John’s original Barnaby’s essential attributes of honesty and integrity.”

And Daniel’s advice to the actor who takes on the role of Troy on stage? “Make it your own and enjoy it. He’s such a lovely character to play and I’m excited to see what someone else does with it.”

Published in 1987, The Killings at Badger’s Drift was the first of Caroline Graham’s Chief Inspector Barnaby books and formed the basis of that very first Midsomer Murders episode. Adapted for the stage and directed by Guy Unsworth, the play revolves around the death of well-loved spinster Emily Simpson in the picturesque village of Badger’s Drift.

Her friend Lucy Bellringer refuses to accept that Emily’s death was an accident, so DCI Tom Barnaby and DS Gavin Troy are called in to investigate – uncovering a world of hidden passions, long-buried secrets and deadly rivalries.

The play, Daniel promises, offers “a night of murder and mystery, full of theatricality and intrigue, with the central partnership of Barnaby and Troy, a whole host of English eccentrics and this real dark undercurrent of secrets and lies going on.”

Returning to the world of Midsomer, Daniel muses: “I never thought that I would revisit it. I had such a happy time playing Troy from when I was 24 to when I was 31. It was a fantastic time in my career, but when I made the decision to leave to pursue other things I thought that was that.”

A guest appearance in the 11th series in 2008 aside, that was indeed that. But then Unsworth called up Casey to say that he was adapting The Killings at Badger’s Drift for the theatre and asked him if he’d be up for starring in it. He wasn’t sure if he wanted to go back to Midsomer at first, but then Unsworth asked him to go along to a workshop and he recalls: “Sitting down and reading Barnaby out loud, it just felt right.” Now 53, he adds: “I’m about the same age as John was when we made that original episode and it brought back so many memories from a really lovely part of my career.”

Their chemistry, Daniel remembers, was instant. They were cast separately and didn’t meet until the first read-through. “And when John walked in he had his script in a carrier bag and I thought, ‘Oh, I like him!’ We got on famously from the start.”

Casey is effusive in his praise for Nettles. “I loved playing beside him, I learned so much from him and he’s always been there for me over the years if I want to talk about anything. He’s a lovely, lovely man.” Like millions of TV viewers, Casey is also a fan of the Barnaby character. “He’s a very straight-up-and-down family man, with a good moral compass. He’s a good cop, he’s watchful and he’s thoughtful.”

Does Daniel share any of those qualities? Married to his wife Ellie since 2005 and a father of two, he maintains: “Family is so important to me too and I think I’ve got a pretty good moral compass. And I’m the fourth of five children. As a kid I couldn’t get a word in, so I’ve always been watchful.”

He’s hard-pressed to pick his fondest memory from his time on the show because “John and I sat in a car, a room and a Winnebago together for so many years, so there are loads of stories”. One abiding memory, though, is when they filmed the very first episode, The Killings at Badger’s Drift. He was supposed to pull up in front of a house and Barnaby and Troy would then step out of the car. But he got out and John didn’t. “I’d parked about two inches away from a concrete bollard and he couldn’t get out,” Casey laughs. “He was shouting from inside the car ‘Is it too late for a recast?'”

One of ITV’s most popular shows ever, Midsomer Murders is syndicated in over 200 territories worldwide. Daniel believes it’s been so successful because: “It’s set in the modern day yet it has a kind of 1940s or 1950s feel to it. It’s a wonderful form of escapism. Apparently a lot of clerics like it because it’s like a modern day morality tale. It’s good versus evil, right versus wrong. And it has such cross-generational appeal, where kids watch it with their grandparents. The beautiful countryside is another part of its appeal and it’s full of eccentrics, which British actors play so well.”

As for why Midsomer fans should come and see it on stage, he says: “It is true to the spirit of the TV show, which has an inherent theatricality to it. We’re bringing that theatricality to the stage and we have a fantastic cast of actors who are multi-roling, which gives them the opportunity to showcase their amazing acting skills. I challenge the audience to guess how many actors there are in the cast as they transform into so many different characters between scenes!”

Casey was born in Stockton-on-Tees and, at age 14, he went along to the local youth theatre, walked into the room and immediately thought, “I love it here”. He landed the lead in Bugsy Malone. “And it was amazing,” he recalls. “The week after we finished I was walking through town with my mate when a girl walking towards us screamed and went, ‘Oh my God, it’s him!’ I knew then and there that this was the job for me.”

After graduating from Grey College in Durham with a BA in English Literature, he began his professional acting career in the Hull Truck Theatre touring production of the play Dead Fish just three weeks later. Casting directors for Our Friends in the North saw him in it and cast him as Anthony Cox.

“I hadn’t been to drama school, so that was a massive game-changer for me,” he says of his three-episode stint on the show, where he played Mark Strong and Gina McKee’s son. “It was an extraordinary opportunity and just opened every door for the rest of my career.”

Parts on The Grand, A Touch of Frost and The Bill, to name just a few of his credits, followed before Midsomer Murders turned him into a household name. His post-Midsomer CV includes Steel River Blues, Marchlands, Casualty, Coronation Street, EastEnders and Emmerdale, but stage work remains a particular passion with parts in The Curious Incident of The Dog In The Nighttime, A Number and The Wings of a Dove to name a few.

Having toured in Abigail’s Party in 2019 and Cluedo in 2022, Daniel says: “I love being part of a company of actors. When touring, the challenge is to keep something fresh, real and immediate every night, and I like that challenge. There are different entrances and exits, different sizes of venues, so you’ve got to be nimble and you’ve got to be on your toes.

“Also, I’ve discovered some gorgeous places in my time when touring. You usually get told about all the little hidden gems in the area by people who come and see you, and it’s lovely to be able to meet the audience afterwards – especially with something like Midsomer Murders that’s got such a loyal fan base.”

The Badger’s Drift tour calls at Manchester, which is a score for Daniel. “I’m a big Man United fan,” he beams, “and it’s a great city. I did The Grand there with Russell T. Davies, I’ve done Corrie and I was at the Opera House with Abigail’s Party and it’s a fantastic venue in one of the best cities in the world. I also did ‘A Number’ at the Library Theatre and was nominated for an MEN Best Actor Award.”

Midsomer Murders: The Killings at Badger’s Drift is at The Opera House, Manchester from 27-30 May 2026.

The post Daniel Casey steps up as DCI Barnaby for Midsomer Murders on stage appeared first on Quays Life.

Since debuting at the 2025 Brighton Fringe, the show has continued to evolve with each performance using puppetry and physical theatre to deliver a raw and emotional message alongside its bizarre premise of a woman who falls in love with a hoover.

Claudia talks to Holly Critchley about the catharsis that comes with turning trauma into art and the challenges of confronting her abuse onstage.

Split Ends uses the surreal image of a woman falling in love with a vacuum cleaner. Where did that idea come from?

Claudia: “I’ve always had an OCD compulsion to cut my own hair, and yet this relationship I was in happened to be with the hairiest man in the world. His hairs would shed all over my apartment and I became obsessed with vacuuming them up. But they just kept appearing. My compulsion had transpired into just vacuuming up all his hair, and I realised how the hair grows back and repeats its cycles was such a good metaphor for being stuck in a controlling relationship.”

What kind of relationship were you enduring?

Claudia: “I was in a vulnerable place already when I got into a relationship that quickly became emotionally abusive. The man I was with would pick at my self-esteem, and keep on picking and picking. He would be a bad boyfriend, but if I confronted him on his behaviour, he would have astounding manipulation skills. The more this cycle happened, the more vulnerable I got, and suddenly I could no longer stand up for myself.”

Has performing ‘Split Ends’ so many times changed your understanding of your own experiences?

Claudia: “Definitely. Mainly, performing the piece has validated my experience – what happened to me was abuse, and I wasn’t dramatising it. When I first performed it was the first time that I got clarity. The feedback from the audience was so important. It reminded me that what happened to me shouldn’t have happened and this show wasn’t exploiting that. I didn’t have the proper words for the experience, so performing the show was at first semi for myself to express my emotions. But people would tell me how Split Ends really touched them, so it eventually became less for me and more as a way to connect with other people and validate their experiences of abusive relationships. As more time has passed, I’ve become more detached from the material, which has made it easier to perform than it was in the beginning.”

How do you balance art with heaviness when portraying coercive control on stage?

Claudia: “I use the vacuum and a piece of scissors as a puppet for my abuser. It’s inherently absurd, but it provides some levity too. But I’ve also faced criticism before that the play is too raw or too real, like watching someone go through it in real time.”

What do you hope audiences take away from ‘Split Ends’?

Claudia: “I wasn’t expecting so many people to reach out to me after performances, but so many have told me they experienced something similar and didn’t have the words for it. A lot of people are gaslit to such an extent that they struggle to even identify what happened to them. As heartbreaking as those messages can be, they’ve also shown me how important these conversations are. If the show helps even one person recognise those patterns in their own relationship, then it’s worth doing.”

Split Ends comes to Contact, Manchester on 19 and 20 May 2026.

The post Claudia Shnier talks toxic relationships and confronting her trauma head on appeared first on Quays Life.

Quays Life chats to director Nikolai Foster ahead of the show’s world premiere at Lowry Salford.

Some might think this is an unlikely story to be put on stage – how has ‘Bank of Dave the Musical’ come about?

Nikolai: “Several years ago Matt Williams, CEO of Future Artists Entertainment (the company who produced ‘Bank of Dave’ on Netflix) felt this David versus Goliath tale of a man from Burnley taking on the big city bankers could become a great musical. Matt met with our collaborators at ROYO and soon after, Rob Madge and Pippa Cleary were brought on board as writers and Curve and Lowry joined the project as co-producers.

“At the heart of ‘Bank of Dave’ we have what all musicals need: a larger-than-life character who can drive the piece forward. For me, Dave is the real-life ‘Barnum of Burnley’, so it felt perfectly natural to imagine this story staged as a musical. After a number of years in workshops, we’re now here in rehearsals, ready to share the show with the world!”

You’ve directed a wide variety of productions in your career – from huge shows like ‘Billy Elliot’, ‘A Chorus Line’, ‘Kinky Boots’ and ‘Annie’ to dramas like ‘A Streetcar Named Desire’ and ‘My Beautiful Laundrette’. How are you approaching directing ‘Bank of Dave the Musical’ compared to your previous work?

Nikolai: “From my point of view, no matter what show you’re working on as a director, you’re a shapeshifter, responding to the writing and what best serves the piece. I always think of it like a triangle between the artists – in this case, the writers Rob and Pippa – the actors who bring the piece to life on stage and the audience who respond to it.

“The humour and the wit of this piece is so exhilarating. In rehearsals, we’ve been working with the actors in the most dynamic and imaginative ways to serve Rob and Pippa’s writing, hopefully to share a musical with audiences that is as fun and exciting as the book and music they’ve provided us with”.

How important was it to launch the show in the ‘north’? It feels like this adds authenticity to bringing Dave’s incredible story to life on stage?

Nikolai: “Dave himself was really keen we should open the show as close to Burnley as possible and that makes perfect sense. We’re thrilled the world-premiere of the production will be held at the terrific Lowry theatre in Salford, close to the Pennines and Dave’s place of birth, where he stills lives to this day.

“‘Bank of Dave the Musical’ reflects the experiences and lives of many real people in the community of Burnley but like all great plays and musicals, it transcends that location and reflects experiences of modern working-class life and post-industrial life all up and down the country”.

Why should audiences be excited to experience new productions like this?

Nikolai: “Supporting new work is so important and really, anybody who cares about the future of theatre should be interested in new work because it’s the lifeblood of our industry. Once upon a time ‘My Fair Lady’ was new, ‘The Sound of Music’ was new, ‘A Streetcar Named Desire’ was new, ‘West Side Story’ was new – it was those audiences who took a punt and were excited to celebrate that new work that helped ensure those musicals and plays lived long and have remained part of the repertoire.

“This is such a funny, brilliant piece of writing and I think it’s really going to blow people’s minds with how hilarious, how moving and how original it is. You get the tone and grit of ‘Billy Elliot’ with the subversive, naughty, northern humour of Victoria Wood and Alan Bennett. It really is brilliant”.

Dave Fishwick is a real, larger-than-life figure – what can you tell us about Sam Lupton’s interpretation of Dave in the show?

Nikolai: “Sam is obviously being true to the essence of who Dave is but it’s not about an impersonation of Dave, it’s about creating a character within the world of the musical. Sam is an incredibly gifted star, a real triple threat.

“It took us a long time to find our Dave because we were so determined to find the right person. When Sam came into the room it was clear he had the star quality and charisma to really ignite the musical and embody the essence of Dave Fishwick through the medium of song and dance”.

How are things going in the rehearsal room? The photographs look like everyone is having a lot of fun?

Nikolai: “I think sometimes we’re having too much fun! There’s a lot of hilarity and literal tears of laughter – I honestly haven’t laughed so much in a long time. The writing is hilarious and the actors have really bonded. Everything has come together in the best possible way to create a really fun and beautifully chaotic rehearsal process and I know the audience will feel that energy and anarchy. I think we’ll need to see if Dave’s minibus company has a supply of extra seatbelts because audiences will be bursting out of their seats with laughter, I’m sure!”

What can audiences expect when they come to ‘Bank of Dave the Musical’?

Nikolai: “You are guaranteed a night of side-splitting hilarity and incredible songs, all performed with joy, love and enthusiasm by our phenomenal company. In these very uncertain times, we want to give people the chance to come to the theatre and see a show which says something hopeful about the world and how we can make a difference for our communities”.

Bank of Dave the Musical premieres at Lowry, Salford from 6-16 May 2026 with a further run at Leicester Curve from 20-30 May.

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What do you love about playing Joe?

Les: “I played the father Wilbur in Hairspray who was devoted to his wife and daughter, and I love this show just as much. Joe is a surrogate dad to the main character Jenna. He’s described as curmudgeonly, but with a buttercream centre. He doesn’t give much away, he’s a bit snappy but he really cares about Jenna”.

Why is the show Waitress like it’s famous pies?

Les: “It is a really lovely show, with so many layers. It seems more to me like a play with music than a full-on musical. It deals with so many issues, with domestic violence, with love, lost dreams and the power of female friendship. Audiences will both laugh and cry and see incredible singers. I mean, our cast is amazing”.

Are music theatre performers looked down on compared to straight theatre?

Les: “Absolutely right. And yet they are a triple threat, they have to be able to do everything at the highest level. I mean, the acting is paramount in this. The story really has to be beautifully acted”.

Did you get the same comments as a comic rather than a straight actor?

Les: “Oh yeah. There’s definitely judgement and yet Shakespearean actor Edmund Kean said on his deathbed, ‘Dying is easy. Comedy is hard.’

“I think audiences get lulled into enjoying it so much, thinking, ‘Oh, he’s just having a good time.’ Yeah, we are all loving what we’re doing. But it doesn’t mean that, you know, it’s easy to do it!

“If you sing a song, you get applause. If you time a joke wrong, there’s nothing.
And when we get the chance to play the drama, we can do it because it’s the flip side of the coin. You know, Les Dawson was a very good serious actor when he wanted to be. You had to hold him down if he got bored, though”.

Do you feel you get more respect now for your acting?

Les: “I get a kind of respect. It’s not grudging, it’s confused because I do things they don’t expect me to. Denise Welch and I always used to ring each other after doing a play and say, ‘Were you a revelation?’”

Have you even surprised yourself?

Les: “Oh yeah. I did Anna Karenina last year. I loved that. I did Venice Preserved with my niece Jodie McNee playing my daughter. If my mum had been around to see her son and granddaughter onstage at the RSC she would have been so proud”.

Are you starting your own acting dynasty?

Les: “I’m very supportive that my daughter Eleanor (aged 18) is interested in acting and my son Tom (aged 15) was really great in a recent school production of School of Rock. I offer to run lines with them and they go, ‘No. I’m fine.’ They appreciate what I do and they’ve been in to watch rehearsals for Waitress, but they want to go their own way, which is great”.

What are you looking forward to on tour?

Les: “I’m looking forward to going back to Liverpool, my hometown. People there love their theatre, love their art. I used to go to the Everyman Theatre when I was at school, and I would watch Jonathan Pryce, Bernard Hill, Julie Walters, Pete Postlethwaite. There’s so much great art outside of London, and people really love it. It’s an embrace of community, of the beauty of life”.

What would you say to the government about regional theatre?

Les: “Theatre everywhere has had some knocks but should most definitely be funded outside London. We should appreciate what we’ve got”.

Have you ever had any mishaps on tour?

Les: “I did three years of panto in Liverpool with Cilla Black, Henry Winkler and then Pamela Anderson. She was lovely. She’d go into the local pub for a cider every night. She didn’t arrive until dress rehearsal and on opening night she flew in on a Vivienne Westwood swing and said, ‘Good evening Wimbledon!’ which is where she was the year before”.

Joe’s big number ‘Take It From An Old Man’ tells Jenna how the scars from life made him stronger. What has shaped you?

Les: “I did a double act with a man who I absolutely adored, Dustin Gee (Gerald Harrison). He was my best friend for a very short time. We met on Russ Abbott’s Madhouse in 1982 and I was having the time of my life with one of the funniest men I’ve ever known. His life was cut ridiculously short in 1986 at the age of 43 when we were flying high with our own TV show. We were in panto at the Southport Theatre at the time. We were being likened to the new Two Ronnies and it suddenly all went away.

“I was in a terrible state and actually went on stage the day after Dustin died, with Jim Bowen replacing him. Now I would not do that. I was convinced by promoters and agents that I had to do it.

“So, yeah, those scars are there”.

Attitudes to masculinity and mental health must be so different today from when you grew up?

Les: “When I first talked about being in therapy, it was frowned upon.

“Now people would check that I was okay. But this was 1986 and, and I was just told you’ve got to get on with it. You got to do it. The whole company went to Dustin’s funeral, but we couldn’t stay for the wake, because we had to go back for an evening show. I look back at that and just think that was wrong, and I didn’t get a chance to grieve and that’s why my first marriage (to Lynne Webster) collapsed, because I was just totally lost”.

What do you think of how Waitress presents so many different types of masculinity from Jenna’s toxic husband Earl to the very sweet Ogie?

Les: “There’s so much depth to this show. There’s a tragedy to Earl, to his destroyed dreams and how he takes it out on his wife.

“I think men are in a difficult phase right now, but we’ve got to support each other.

“My wife, Claire (Nicholson), will say, ‘Hey, hold my hand,’ because I still fear public displays of affection.

“I call her Claire in the community. She’s amazing, looking after us all and looking and looking after everybody, if she can”.

What have learned from her?

Les: “You’ve got to trust and love the people that you love, and you’ve got to show them that.

“I remember I stopped kissing my dad when I was about 13 or 14, because a school friend made fun of it. I really regret that.

“What I really love is that when I talk to Tom on the phone or he’s getting out the car to go to school, he always says, ‘I love you.’ That’s beautiful every single time. Tom kisses me, and, you know, gives me a hug all the time. I love it”.

It sounds like you’re in great place?

Les: “I’ve got a great, lovely family, lovely wife. I’m still here, still doing it. I love being in this business. I love the different things that are thrown my way. I did HMS Pinafore with the English National Opera. I did a season at the Royal Shakespeare Company. If I get a challenge, then I run for it”.

Waitress is at the Palace Theatre, Manchester from 26-30 May 2026.

The post “Men are in a difficult phase right now, but we’ve got to support each other” – Les Dennis appeared first on Quays Life.

Kuchipudi is an incredible form of dance. What drew you to it?

Payal: “So I started training in Kuchipudi when I was four. I did not have much of an understanding of what the dance style was at that time; I got started into it by my parents. But it’s a South Indian classical dance form. If I were to draw a parallel with something you may be familiar with, it would be ballet — not stylistically, but in terms of its structure and the discipline it requires.

“It’s replete with footwork and hand gestures. It’s a way of communication and storytelling. We use a lot of facial expressions to communicate ideas and tell stories, really using the whole body. Rhythm forms the backbone of it, and it’s very rich musically — they go hand in hand, of course. I mean, music and dance naturally go together, so that’s essentially what Kuchipudi is.”

What inspired you to create this work around motherhood and miscarriage?

Payal: “It’s a combination of several factors. I’m at that stage where I’ve been contemplating motherhood myself, but I’ve also watched others on their own journeys. The work I make usually stems from a place of curiosity — that’s my entry point into any project. It comes from feeling like I don’t know enough about a particular idea or subject, and wanting to explore it further. Motherhood is not just a simplistic term. It is a landscape of emotions. I make work that I feel needs to be spoken about.

“For me, dance is the medium I choose because it gives me a way to discover and better understand that subject matter. Then I invite people onto that journey with me — I share it with the audience, who can take part either as spectators or participants, depending on how the work unfolds.”

Do you think it’s easy to cover powerful topics through art and dance?

Payal:“I don’t know if it’s easy, but I would certainly say that it’s my way. It’s my medium, it’s the medium that I know best, it’s the medium where I can express myself to the best of my ability. So that’s my medium. Dance helps me express myself best. I think there are a lot of things that remain unsaid. Art is a great way of telling people things. I think art remains with you, even when you leave a performance. The performance stays with you for a long time. And that is the beauty of art. That is the impact that art has on people.”

How long have you been working on ‘Just Enough Madness’?

Payal: “It was born, I think, somewhere around 2019. So, it’s been a long, long time. There were gaps in between, but it was always there in my mind. Even while I was working on other productions, there would be times when I would revisit it and then just let it simmer in the background and then come back to it. It’s been through different phases. It’s been re-researched and redeveloped, and now we’re finally doing this pilot tour with hopefully a more extensive tour next year.”

How can you convince someone to come watch?

Payal: “I think everyone has either been a witness to motherhood or experienced it themselves. You know, we’ve either seen our own mothers or watched a sister, a wife, or a friend go through the journey of motherhood. And if you are someone who has witnessed it or been on that journey yourself, I would just say: come see a glimpse of yourself in it, and come to recognise the emotional labour, the rigour that a woman goes through. I’m not talking about the physical aspect so much — I mean the more unsaid truths of motherhood. Yeah. So I think it’s really a way of celebrating motherhood in the truest sense of the word, not just superficially.”

Just Enough Madness & Caught in the Net of Rebirth is at Lowry, Salford on Tuesday 31 March 2026.

The post Payal Ramchandani, dance and the unsaid truths of motherhood appeared first on Quays Life.

Blending absurdist comedy with reflections of ambition, creativity and what comes next after a goal has finally been achieved, the show has been described as “demented, meticulous, oddly moving” and a comedy that feels like “a genuine work of art.”

Anastasia Tirca meets him to find out more about the origins of the show, the strange journey behind it and what audiences can expect when the curtain rises.

What is the main message you want audiences to take from the show?

Joz: “It’s such a stupid show. I’m a character comedian and the things that I most like are just really stupid.

“One of the big things we were trying to do was just make something that people would find very silly. But it’s also kind of about wishing your life away, I guess. Like the idea of it is that I play a character who has been working on his life’s work and throughout the show, it’s sort of vague, but he is promising to unveil it for the first time during this show. As it goes on, it becomes clear how much that’s cost him and how much he’s driven himself insane with the idea of doing this amazing thing.

“It is sort of talking about the way in which we put so much of our lives off into the future – once I finish doing this thing or once I’ve got that ready, then I’ll finally be able to do everything else. So it’s sort of about that state – what will it take for us to actually start living our lives kind of thing?

“The show does all that under the surface of something that is just very, very much about chaos and about nonsense”.

Does the comedy reflect the reality of the story the way it should?

Joz: “I mean, for me, my favourite comedies are the ones that while laughing at it and while being in hysterics at something, it also managed to make you actually think about something in a new way. And I think comedy can make you do that in ways better than drama can.

“I really love making stuff that sits in that middle ground where you’re watching something very stupid and for some reason you’re being made to think about this bigger picture as well. I really like exploring those crossovers. When an audience is laughing, then I think in a way they are more receptive to the idea that when it turns out to be about something meaningful, it sneaks up on us more”.

What can you share about the process of writing and creating the show?

Joz: “It is a solo fringe show and the myth of those things is always that they’re very driven by one person. When you go to the Fringe, it’s all posters with one person’s face and one person’s name on it. So the show is like, Joz Norris. I did write and perform it, but this gets in the way of the fact that it’s still a product of such a collaborative process, because I had a director, and I had a consultant on it, who did a lot of story input and design input. So, I did write the material, but even then, that becomes part of a conversation with the team where we talk about other people chucking ideas for jokes or they’ll go, this bit should be streamlined or it would be funny if this bit went more in this direction.

“It’s technically written by me, but I always think the fringe in particular is quite bad at reminding people that there’s a whole team of people around things”.

Do you think taking it to the fringe has altered the show in any way, and did you modify it for the tour and the Lowry performance?

Joz: “It’s the model that I know, I started doing the Fringe years ago, I’m most comfortable with making shows that fit that format and I’m most comfortable knowing how to position something with that audience. But I think the more you do it, the better you get at learning how to make something that could speak outside of that as well, because the Fringe is amazing, but it’s a bit of a weird bubble. It has so much importance for the comedy industry.  So with this show, I think the fact that we’re now touring theatres with it and it had a nice enough run in Edinburgh to kind of to create that momentum to take it on tour. In Edinburgh, everyone’s already primed for something very chaotic and absurdist and stupid. The way in which it unfolds sort of plays out differently with different audiences. You can give a show a whole other life after the Fringe, because normally I do the Fringe and then I chuck the show in the bin and then that’s it. So taking it out to other cities around the place has been really cool, really fun.

“It wasn’t its first ever performance at the Fringe, but it was its first kind of launch.
It is my 1st time performing at the Lowry. I directed a show that launched there a couple of years ago. Eddie Hearst, who is an amazing comedian based in Manchester did a show, which was developed with the Lowry and premiered there at the end of 2024. I’ve worked with the Lowry before and was up there quite a lot helping develop that. But I’ve never actually performed there. So I’m really looking forward to it”.

What inspired you to write this?

Joz: “All of my shows end up being character comedy shows where I play a character with my name who is quite similar to me and in some ways it could be a stand-up show. The stuff that’s happening in the show is so stupid that it’s obviously fictional. So the things that happen to my character in this show are very much imaginative, absurdist, stupid things. But it was based on the feeling of once I’ve managed to complete this thing, then my life will carry on.

“I made a show in a literalising way, to try and tell myself to stop having that feeling. It is sort of a way of reminding myself how pointless it is to get stuck in thinking that way. Any stand-up is basically comics playing a version of themselves, so the character also has my name.

“It’s a one-man show, although there’s sort of offstage voices and things that we don’t see. It’s more of a narrative than a stand-up show.

“My background is mostly stand-up. I started doing it in University and then it just became what I did. I was like: I’m going to London and work it all out. I hopped from temp job to temp job for a while, until I had enough of a stable career in comedy that was what I did”.

How do you find doing this show with no ensemble? How is that different?

Joz: “It takes a while getting used to it because particularly the stuff I grew up with loving the most was TV comedies, which obviously are lots of characters interacting with each other. So the way my brain automatically goes towards finding things funny is that I very often make characters have phone calls in shows or talk to somebody off stage or trying to put them into dialogue with things. I think I’ve also got better in the last few years with having a team around a show, so it feels a bit less isolated. I’ve got an amazing tech and a tour manager who goes around with me and it’s so good on the timings of everything. So it’s nice when there’s a family of people around a show in a way, and it slightly insulates against the fact of it’s just you on stage for an hour.  Part of the team was John Britton who was the director. Miranda Holms was the creative consultant and script consultant. James Hingley was the technician. Grace Gibson did movement direction on it, because there’s a little bit of dancing in it, she taught me just how to dance well enough to get away with it”.

What goal do you want to reach with the show?

Joz: “I think with this particular show, it already surpassed so many goals for it because it had such a lovely run in Edinburgh and this thing of being able to take it on the road and meet more audiences. I think that’s always the hope with a show is you just keep finding new ways to reach more people with it, which this one is in the process of doing.

“We would like to film it because once you’ve taken it to all the venues that want it, then comes the thing of how do you preserve it so that it’s not just something everyone remembers? So I think we might try and film one of the performances. There is also a bit of me that wants to try and explore the idea of it as a feature film as well. But obviously making a film is another mountain to climb. So I think it’s nice that there’s a blueprint for something.

“I think this is my best show yet. I always hope that every show I do feels like it’s an evolution from the last one. I think by the time you finish a show, you can always see what you couldn’t see while you were inside it, which then means the next one, you’re sort of deliberately going in the right direction. We’re doing about 12 dates in 12 places around the UK.  Which is great and I feel very happy with that and it’s my 1st tour around the UK. This is show number 7 that I have done overall, but 3 of them are probably in the comedy theatre space”.

Do you think the comedy  aspect of the show transmits the message that you want to the audience to gain in the correct way?

Joz: “I’m never precious about exactly how I want audiences to leave and it tends to be either because of the way in which the show is structured and because of what happens towards the end. People either leave at the end just very hysterical and giggly, because the ending is very stupid and dumb. Or it becomes so stupid by the end that there’s almost a glimmer of pathos in it or actually meaning something. So sometimes people leave, weirdly moved by it and they come up to me and say: thank you so much. I really don’t have a preference on those 2 things. I think both are really valid responses. When I see people just leaving very giggly and trying to calm down after losing it for a bit, then I find that really lovely. And when I see audience members who took something away from it I am a bit touched”.

Joz Norris: You Wait. Time Passes is at Lowry, Salford on 24 Aril 2026.

The post Joz Norris on getting silly and serious in You Wait. Time Passes appeared first on Quays Life.

Taking on the iconic role of the titular crime-solver in ‘Inspector Morse: House of Ghosts’, Tom Chambers admits to being daunted at the prospect of following in the footsteps of John Thaw from the much-loved TV series. “But it’s a thrilling challenge,” he smiles, “and it’s a delicious treat for anyone who is a fan of Morse, like I was and indeed have been throughout the decades.”

For most theatregoers ‘House of Ghosts’will be a brand-new story full of surprising twists and turns. It was written in 2010 by Alma Cullen, who (along with Anthony Minghella and Danny Boyle) was one of the original writers on the ‘Inspector Morse’ TV show when it premiered in 1987. Cullen’s play enjoyed a small tour and a Radio 4 broadcast, but the UK tour marks the first major production of the first-ever Morse story on stage.

Reunited with director Anthony Banks after ‘Dial M for Murder’, Chambers says: “Morse is such a fantastic brand and we’re both really excited about the fact that the audience is going to see something that the vast majority of them won’t have seen before. And given that Alma was one of the original writers, he’s very much the Inspector Morse that we know and love.”

The ITV show has been hailed by Radio Times as the greatest British crime series of all time and it inspired the equally beloved spin-offs ‘Lewis’ and ‘Endeavour’. In ‘House of Ghosts’ a chilling mystery unfolds when a young actress suddenly dies on stage during a performance and Detective Chief Inspector Morse and his sidekick DS Lewis are called in to investigate, as what begins as a suspicious death inquiry takes a darker turn when they uncover a connection to sinister events in Morse’s own past at Oxford 25 years earlier.      

As for why he’s both thrilled and daunted about heading the cast for the tour, Tom says: “The thrill for me is in the dialogue and the writing, the camaraderie between Morse and Lewis and their relationship – where you have that classic thing of him putting Lewis down but with a sense of irony or jest and sometimes despair.

“So it’s great fun but daunting too, because you know that an audience is going to want to see something in the style of what they’ve seen before. They don’t want to see something that’s completely, shockingly unexpected, although there’s a different kind of energy to the setting because we’re back in 1987 where there are no mobile phones and it’s all analogue.”

Born in Derbyshire, the actor attended the National Youth Music Theatre, studied at the Guildford School of Acting and came to fame as Sam Strachan on ‘Holby City’. His theatre credits include the musicals ‘Top Hat’ and ‘Crazy for You’, as well as the thrillers ‘Murder in the Dark’ and the aforementioned ‘Dial M for Murder’.

Asked why he feels murder mysteries are so popular, especially on stage, Tom muses: “We are curious creatures, aren’t we? We like a puzzle, we like a challenge and the stimulation that goes with it. And in the theatre, of course, everyone is in the same space, in the dark, watching the mystery unfold on stage.”

Now 48, Tom adds with a smile: “I’m not necessarily someone who’s really modern and really cool, and I think Morse is like that too. He’s not necessarily chivalrous, because he can be quite hard at times; he can harsh, very black and white and very honest. He says it how it is, but he does have a sort of gentlemanly manner about him. I like playing that and exploring it.”

Tachia Newall plays Detective Sergeant Lewis and says of the character: “He’s pretty down-to-earth and hard-working. He loves his family and he’s usually thinking about getting home to his wife and kids, but he also wants to get to the bottom of the mystery.”

Is Tachia anything like that? He laughs: “I’m probably quite different because I wouldn’t say that I’m relatively chill. I’m down-to-earth, but I’m a little bit nutty. People will tell you that I’m very excitable.”

The banter between the characters is fun to play. “Lewis is really loyal to Morse and Morse in turn respects his views, even if he gets exasperated by him at times. Morse is from quite an educated background, while Lewis’s accent leads people to believe he’s not that well-educated by comparison.”

Born in Manchester, Tachia grew up watching ‘Inspector Morse’ on TV but is avoiding rewatching episodes now. “With most acting jobs that I do, if there’s been a previous iteration then I tend to stay clear of it until the job’s finished, just because I don’t want to try and emulate anything that’s been done before.”

Best known as Bolton Smilie from ‘Waterloo Road’, Newall is pleased to be reunited with Tom. Their paths crossed when Chambers did a stint on the show in 2009. “I hadn’t seen him since, so it’s good to be back in the room with him. He’s a cracking lad and he’s not changed at all. He’s still got that playful bounce about him.”

Tachia’s theatre credits include ‘Macbeth,’ so is ‘House of Ghosts’ a doddle compared to doing Shakespeare? He laughs. “I wouldn’t say it’s a doddle! This is a complex show, with complex timelines. It’s maybe easier emotionally for me, but it’s still challenging. And I just love being on the stage. With theatre, it changes every night. Just having a live audience in front of you, it brings you to life because anything can go wrong and you’ve got to be on your toes. You’ve got to be able to bring it back around.”

Murder mysteries are popular, he feels, because: “They’re such an escape from everyday life and you get to unpick things. You get to go on this journey with the protagonists, and you get to go ‘So they did it? Amazing!’.”

As for whether he’s make a good DS in real life, Tachia reckons: “Probably not. I think frustration might get the better of me. If I hit a brick wall, I might find it difficult to jump outside the box and view things from a different angle.”

Having helmed ‘Dial M for Murder’ as well as ‘The Girl on the Train’, ‘Gaslight’ and ‘Strangers on a Train’, director Anthony Banks is well-versed in stage thrillers. Summing up the appeal of Morse and Lewis in ‘House of Ghosts’, he says: “They are ordinary people who, by chance or by accident, have found themselves in these jobs as policemen working for Thames Valley police. They’re told to follow the rules, but people love them because they are messy, accident-prone individuals who are just doing a job. They’re not superheroes.

“There are various little asides where they kind of go ‘You know, we could be doing something else’ but I think that’s why people like them so much – because they recognise their faults and they are modest, and they don’t seek approval in the way that some heroes in fiction do.”

When Anthony read Cullen’s play his first thought was that, having worked with Tom on ‘Dial M for Murder’, he’d be the perfect actor to play Morse. “John Thaw is from Manchester and Tom is from the North, so there was that connection, plus he’s around the same age that John was when he started the TV series. Tom has a presence on stage that the audience warms to.”

Then there’s Tachia, about whom the director says: “I met him and immediately thought ‘I’ve found my Lewis’. He’s Mancunian, so he brings a very fresh sound to the character in a slightly working-class and very on-the-nose, straight-down-the-lens kind of way.”

Cullen’s play is interesting, he continues, because: “It’s a feminist piece of writing. Wherever possible she brings into focus what professional life was like for women in Oxford in the 1980s. Very few women held the position of head of department or professor or chair even. These were very changing times and Margaret Thatcher was running the country, but there was a massive amount of work to be done in terms of equality between the sexes. Unfortunately I think there’s still so much work left to be done on that front.”

As to why he feels it’s timely to stage the play now, Banks recalls gifting his father a book about the making of the TV series back in the 80s, in which the author of the Morse books Colin Dexter talked how the world had gone sour, people were going from one crisis to another and the Inspector was just trying to make things a little better.

That memory prompted his decision to revive a play that is set in 1987 and was first performed 15 years ago. “Now here we are, the world has gone a little sour again, we do seem to be moving from one crisis to another, and here’s this guy who wants to make things better. That struck me as a story that audiences would enjoy today.”

Inspector Morse: House of Ghosts is at Lowry, Salford from 7-11 April 2026.

The post The greatest British crime series of all time gets a stage makeover appeared first on Quays Life.