Inside No. 9: Stage/Fright - Review

★★★★★

How do you write a review for Inside No. 9: Stage/Fright without spoiling the many twists, turns, and theatrical sleights of hand that make it such an electrifying night at the theatre? Perhaps the simplest way is to say this: it’s a masterclass in dark comedy and suspense, a five-star triumph destined to delight die-hard fans of the BBC series and theatre aficionados alike.

Reese Shearsmith and Steve Pemberton during the 'Cheese and Crackers' sketch.

Steve Pemberton and Reece Shearsmith, the twisted geniuses behind Inside No. 9, The League of Gentlemen, and Psychoville, have ventured into the West End with a production that feels both familiar and thrillingly new. Stage/Fright unravels the tale of Bloody Bell, the ghost said to haunt the Wyndham’s Theatre, but true to form, that’s just the surface. The play stitches together brilliant sketches, many of which are a satirical jab at modern theatre conventions. The opening sketch alone is perfection, a laugh-out-loud, painfully accurate observation of theatre audiences, while Act Two offers a cheeky nod to Jamie Lloyd's infamous (and tedious) use of video screens—both moments that feel tailor-made for theatre buffs to savour.

Yet, what elevates Stage/Fright beyond a clever collection of sketches is the masterful way these seemingly disparate pieces weave together in the final act. It’s writing of the highest calibre, a tapestry of comedy and horror stitched with the precision and flair only Pemberton and Shearsmith can deliver.

Joining them on stage is an ensemble of comic brilliance: Rebecca Bainbridge, Mark Extance, Anna Francolini, Gaby French, Miranda Hennessy, Bhav Joshi, Toby Manley, and Christina Tedders. Each performer steps seamlessly between roles, adding layers of humour and heart to the production.

Grace Smart’s set design is beautiful, keeping the focus on the actors while allowing for clever theatrical trickery. Ed Lewis’s sound design adds both atmosphere and the occasional heart-jolting fright, perfectly synced with Neil Austin’s dynamic lighting. Special mention must go to John Bulleid for the illusions, and Duncan McLean’s projections, which play a pivotal role in the show’s immersive storytelling.

Fans of the TV series will be delighted by the Easter eggs sprinkled throughout, from the return of ‘Cheese and Crackers’ from the beloved episode Bernie Clifton’s Dressing Room to subtle callbacks of sardines, stupid burglars, and the all-important rabbit. Even when moments feel like direct lifts from the show, they serve the narrative brilliantly, offering nostalgia without alienating newcomers.

Pemberton and Shearsmith are, as expected, flawless. Their impeccable timing, chameleon-like character shifts, and rapid-fire costume changes are a testament to their theatrical prowess. Few performers can hold an audience in the palm of their hand like this duo.

Whilst my fingers are itching to write the words, “You must get tickets to this show—it may well be the theatrical event of the year!”, the sad reality is that Stage/Fright is completely sold out. In fact, such is its popularity that I counted at least ten people standing at the back of the theatre, desperate to catch a glimpse. It’s a rare phenomenon and a testament to the cult status of Inside No. 9.

Running at Wyndham’s Theatre until April 5, 2025, Stage/Fright is a sensational piece of theatre that cements Pemberton and Shearsmith as two of Britain’s greatest storytellers. What’s next for this brilliant duo? Whatever it is, we’ll be first in line.