Murder Before Evensong – Watermill Theatre

There is something particularly satisfying about watching a production that understands exactly how to use the theatre it inhabits, and ‘Murder Before Evensong, the world-premiere stage adaptation of Reverend Richard Coles’ bestselling novel, feels completely at home at the Watermill Theatre. Intimate in scale but remarkably expansive in execution, this is a beautifully constructed, wonderfully performed production that manages to make this tiny auditorium feel, at times, like a full-scale West End stage.

Adapted by Paul Hart and Shaun McKenna, and directed by Hart, the story takes us to the seemingly idyllic village of Champton in 1988, where parish politics, long-standing relationships and simmering tensions surround St Mary’s Church. When murder intrudes upon this comfortably familiar world, the secrets beneath the village’s respectable surface begin to emerge.

Hart’s direction is exceptional and uses The Watermill’s intimacy as one of the production’s greatest strengths, drawing us directly into rural Champton and creating the sense that we too are members of this tightly knit community. There is tremendous confidence in the storytelling, balancing the mechanics of a murder mystery with character, comedy and moments of genuine emotional weight.

Visually, the production is quite remarkable, bolstered by Ceci Calf’s set and costume design which is honestly brilliant. They have achieved an extraordinary sense of scale and atmosphere from such a small stage, and the space is transformed with real theatrical imagination, allowing the production to shift fluidly between the village locations while never feeling cramped or compromised. Combined with Charly Dunford’s superb lighting design, and Rachel Sampley’s video design, the effect is wonderfully dramatic. Together, the creative elements create depth, mood and a sense of scale that frequently makes you forget just how intimate The Watermill is, and as a result, the team have absolutely knocked this one out of the park.

At the production’s centre is Ian Hallard as Canon Daniel Clement, and he is superb. Warm, thoughtful and immensely likeable, Hallard completely embodies Daniel and provides the production with its emotional anchor. There is an understated humanity to his performance that makes Daniel instantly engaging, whether navigating parish squabbles or confronting considerably darker truths. Frankly, if Daniel Clement were taking Sunday service, I would happily join the congregation.

Caroline Gruber is equally impressive as both Audrey Clement and Kath Sharman. Her Audrey provides some wonderful comic moments, but it is as Kath that Gruber delivers one of the evening’s most powerful performances, and despite comparatively limited stage time in the role, she creates something extraordinarily affecting, demonstrating how a truly accomplished actor can make an enormous impression with relatively little.

Kate Russell-Smith, meanwhile, is an absolute tour de force of comedy acting. Playing Honoria de Floures, Dora Sharman and Anne Dollinger, she transforms effortlessly between characters and displays exceptional comic instincts. She delivers a masterclass in character comedy, her facial expressions alone are worth watching, finding laughs in the smallest reaction or perfectly timed glance.

Alex Wilson similarly excels as Theo Clement and Nathan Liversedge, and even though the two characters could scarcely feel more different, Wilson makes each utterly distinctive. Alongside Russell-Smith, his performances rank among some of the most memorable character work seen on stage this year.

The strength of the wider ensemble should not be overlooked, with Ajani Cabey, David Hounslow, Jaz Singh Deol and Julie Teal contributing to a company in which multiple roles are handled with remarkable energy and precision.

What Hart and McKenna have achieved is more than simply putting a popular novel on stage, they have created a theatrical world that feels rich, funny, touching and alive. The mystery keeps the story moving, but it is the humanity of Champton and its inhabitants that makes the production linger afterwards.

‘Murder Before Evensong’ is clever, beautifully staged and exceptionally performed. I loved it and would return to Champton without hesitation. If this world premiere is the beginning of a longer life for the production, it thoroughly deserves one. It runs at The Watermill until 14^th November 2026, do not miss it, tickets are available at: https://www.watermill.org.uk/events/evensong

Reviewer: Alan Stuart Malin

Reviewed: 29^th September 2026

North West End UK Rating: