Behind the Mystery: Nathalie Barclay and Rhian Crowley‑McLean on Bringing Midsomer Murders to the Stage
For decades, Midsomer Murders has been a staple of British television — a comforting cocktail of eccentric villagers, improbable motives and beautifully scenic crime. Now, the beloved series has stepped into the world of theatre, touring the UK with a stage adaptation that blends intrigue, comedy and a surprising amount of backstage choreography.
To understand what it takes to bring this world to life, I spoke with two members of the company: Nathalie Barclay, who plays dual roles in the production, and Rhian Crowley‑McLean, the show’s female cover and ensemble performer, responsible for stepping into any of the twelve female characters at a moment’s notice. Their experiences offer a fascinating look at the craft, chaos and camaraderie behind the scenes.
The Interviews
(Listen to the Full Interviews at the Base of this Page)
Nathalie Barclay — On Characters, Comedy and the Joy of Live Theatre
Q: Tell me a little about the characters you play in Midsomer Murders. Who are they?
Nathalie: “My principal character is Catherine Lacey. She’s about to move into the big house in the village, engaged to Henry Trace, a wealthy older man. Her life has been hard, but it’s about to change.” Like everyone in Midsomer, Catherine “wears the hat of suspicion,” as any villager could be the culprit.
Her second role is Judy, the doctor’s daughter: “She’s young, awkward, trying really hard but getting nowhere. She’s in an unrequited love dynamic — heartbreaking but joyful to play.”
Q: Midsomer has such a distinctive tone. How do you balance the drama with the lighter, quirky moments?
Nathalie: “There is so much wit and cheekiness… brilliantly funny parts that still make me laugh, even though I’ve heard them 150 times.” She stresses that comedy must come from truth: “You can’t play the laugh. You play what the character wants.”
Q: You trained at Mountview. Are there lessons from that training you still use today?
Nathalie: “A director once told me: ‘The truth needs to be shared, and it can be as big and bold and loud as you want, as long as it is truthful.’ I’d been afraid of being ‘too big’, but Midsomer is fruity and naughty, so I’m revisiting that advice.”
Q: Do you prefer intimate venues or larger theatres?
Nathalie: “I love a very small, intimate venue. You feel the audience closer to you… it reminds you you’re alive.” She adds that theatre is a shared experience: “What the audience gives is just as important as what the actor gives.”
Q: What has been the most surprising or challenging aspect of the production?
Nathalie: “Quick changes. I have 18 quick changes.” She laughs remembering rehearsals: “I kept saying, ‘I can’t do this.’ How will I make it back on stage in 18 seconds?” Thanks to the backstage team, she does — but multi‑rolling requires constant clarity: “You always have to make sure the characters are fully defined.”
Q: Without spoilers, do you have a favourite moment in the show?
Nathalie: “There’s a scene I’m not in that I adore — it’s so funny and embarrassing and awkward and human.” As for her own work, she highlights the finale: “The stakes become sky high for everyone. It always feels alive and buzzing.”
Q: Why should Cardiff audiences come and see it?
Nathalie: “You’ll be in for a night of murder, mystery, horror, thrill, and belly laughs. There’s something for everyone.”
(Listen to the Full Interview at the Base of this Page)
Rhian Crowley‑McLean — On Covering Twelve Roles, Welsh Identity and the Magic of Adaptation
Q: Tell me about your role in the production. What does being the female cover involve?
Rhian: “I cover every female role within the play — twelve characters in total.” She also appears in the ensemble, creating the world of the police and forensics teams.
Her job is to be ready at any moment: “If anything happens to one of the female actors, I step in. I’ve done it once on this tour — I got the call at 10.30pm and was on the next day.”
Q: That must be intense. How do you prepare for something like that?
Rhian: “You have to know it. Lines, blocking, where the set moves, your costumes — everything.” She and her fellow cover, Chris, were embedded in rehearsals from the start, watching, learning and working separately with the associate director.
“It’s muscle memory. And the wigs, hair and makeup team are phenomenal. The show couldn’t work without them.”
Q: You’ve worked internationally — West End, Dubai. How does this production fit into your journey?
Rhian: “This industry is tricky. One minute you’re in a West End show, then nothing for a long time. I’ve got a five‑year‑old now, so my choices have to work for my family.” She’s grateful for the work and the company: “Even if I’m not on stage saying lines every day, being part of a brilliant show and a premiere is lovely.”
Q: You’ve done Shakespeare and contemporary theatre. What’s unique about stepping into Midsomer Murders?
Rhian: “It hasn’t been done before — that’s unique in itself. A lot of murder mysteries are very serious, but this keeps the humour, the garishness, the absurdity of the TV series.” She describes the staging as “almost like a musical in its busyness,” with constant costume and wig changes, but firmly a play in tone.
Q: As a Welsh performer, how do you feel about bringing this show home to Wales?
Rhian: “There’s huge respect for Welsh arts and theatre — even more so now. Our culture is unique; it’s in our blood.” She speaks passionately about Wales’ global presence: “We’re not just Welsh — we are global. We speak a beautiful language. Our storytelling abilities are huge.”
Q: Is there a TV series or film you’d love to see adapted for the stage?
Rhian: “Labyrinth. Or The Goonies. But Labyrinth especially — the music, the puppetry, the imagination. It would be a visual delight.”
Q: What do you hope audiences take away from Midsomer Murders?
Rhian: “A love of theatre. A sense of joy and escapism. We’re not living in the nicest times — if people leave feeling uplifted, that’s enough.”
(Listen to the Full Interview at the Base of this Page)
In Summary
Together, Nathalie Barclay and Rhian Crowley‑McLean paint a vivid picture of a production that is both technically demanding and creatively joyful. Nathalie’s dual roles showcase the emotional range and comedic precision the show requires, while Rhian’s perspective reveals the invisible labour that keeps a touring production alive — the quick changes, the readiness, the teamwork.
What emerges is a celebration of theatre’s collaborative spirit. Midsomer Murders on stage honours the charm of the original series while embracing the boldness, absurdity and immediacy that only live performance can offer. For Cardiff audiences, it promises a night of mystery, laughter and pure theatrical escapism.