Inside Number 9: Stage/Fright - UK Tour Review

★★★★★

Following its phenomenal, sold-out run at London’s Wyndham’s Theatre (where it earned a glowing five-star review from us!) Inside Number 9: Stage/Fright has hit the road for a nationwide UK tour. But can Steve Pemberton and Reece Shearsmith’s darkly hilarious masterpiece still shock, surprise, and captivate audiences who think they know its secrets? Or does this twisted theatrical gem lose any of its magic outside the West End?

Reese Shearsmith in Inside Number 9: Stage/Fright

Well, Inside Number 9: Stage/Fright arrived at Birmingham’s Alexandra Theatre with a deservedly high buzz. This touring production is a visceral, mischievous feast for fans and newcomers alike: a daring blend of sketch comedy, ghost story, and theatrical trickery, all anchored by the twisted wit and inventiveness of its creators.

From the moment the lights dim and uncanny music creeps through the speakers, there’s a feeling that you’re entering a haunted mirror of the Inside No. 9 universe. The show doesn’t pretend to be one play but several; in fact, it leans into that anthology spirit, much as the television series did, crafting something where disjunctions, callbacks, and surprises are all part of the delight. The first act trades more heavily in laughter and familiar riffing; the kind that fans will recognise as lovingly staged echoes of episodes such as Bernie Clifton’s Dressing Room, A Quiet Night In, and Sardines. While the second act leans darker, more insistent, pushing you toward real theatrical spectacle.

Reese Shearsmith and Steve Pemberton in Inside Number 9: Stage/Fright

One of the show’s greatest accomplishments is its ability to balance homage and invention. Yes, there are Easter eggs that cause knowing murmurs in the audience, and some moments are just lifted sketches from the TV show, but they don’t feel reductive. Instead, they serve the new structure, offering delight for longtime watchers while never alienating newcomers. Even people with only a passing knowledge of the TV show will find themselves drawn in, gasping at revelations and laughing at its absurdities.

Pemberton and Shearsmith are, unsurprisingly, magnetic. Their chemistry onstage spills over; they play characters, narrators, haunted hosts, and in a few moments, break character to speak directly to us, reminding us of the strange interplay between performer and audience. They still feel as nimble and mischievous as ever, with the material still feeling fresh. The guest cameo tradition continues, with Birmingham seeing the likes of Adrian Chiles, Lesley Joseph, and we had the hillerious Russell Kane, who entered with gasps and titillation from the audience. These surprise appearances remain a thrill that has its own dedicated Reddit thread! 

While the production remains strong, it was not entirely without its flaws. At times, the ensemble appeared a little too familiar with the material, resulting in certain punchlines — and even a few setups — being rushed or overlooked. As a result, newcomers to the show may not have experienced the same sharpness and delight that characterised the original West End run. Additionally, although moments of corpsing were handled amusingly by Pemberton and Shearsmith, the wider ensemble’s participation occasionally detracted from the professionalism of the performance.

Technically, this tour version holds its own. Grace Smarts set, Duncan McLean’s projections and John Bulleid’s stage illusions remain as exciting and interesting as they did on the West End stage. Ed Lewis’s sound and Neil Austin’s lighting are incredibly powerful in this production, used to draw focus, shift attention, disturb and please the audience — it’s very well achieved. All of these elements have been carefully crafted to emulate the aesthetic of the TV show, while being appropriate and impactful on stage. It is done so with an understanding of theatrical storytelling, which is a credit to the creators and creatives.  That said, some of the projections were inaccessible to certain seats in the theatre, which was less of an issue when the show had a residency.

Steve Pemberton in Inside Number 9:Stage/Fright

If you read our previous review, you’re probably wondering whether a ghost tale that leans on “Wyndham’s Theatre haunted history” can translate to touring houses not built with a ghost in mind. The answer is: mostly yes. Each theatre, it seems, becomes haunted by consent. It does feel less personal to the theatre when you’ve seen the same ghost story told in another auditorium, but willing suspension of belief and artistry take over. The same story of Bloody Bell (and the same video footage) is transcribed to each theatre, but you’d never know if you hadn’t seen the show before.

One structural risk is that the anthology nature introduces a little fragility: when you’re juggling multiple sketches, some will always shine less brightly than others. A few sketches felt less tightly wound, leaning into references that may not resonate with all audiences. When the show becomes meta about theatre’s absurdities, or improvisational, it’s often brilliant. However, a joking reference to Jamie Lloyd's on-stage camera projection used in Sunset Boulevard, and celebrity casting in 2:22, really dates the sketch.

One highlight: the show’s commitment to complicity. The audience is rarely a passive observer; they are actively involved in the show. People lean forward, hold their breath, and squirm. There are moments when the actors look at you, looking back, reminding you that you are part of the machinery. That sense of shared risk is one of Stage/Fright’s best virtues.

This show prompts an interesting thought on the nature of rewatching theatre. Some audiences can return to a musical time and again, finding fresh joy in its familiarity. But a show like Inside No. 9: Stage/Fright relies heavily on surprise; the tension of not knowing what’s coming next. Once the twists, scares, and narrative turns are revealed, that vital sense of anticipation inevitably diminishes. It’s perhaps why plays of this genre often struggle to achieve lasting longevity. Except, of course, 2:22: A Ghost Story, which continues to draw crowds — arguably less for its thrills, and more for its revolving door of celebrity casting.

If this tour is a farewell, it’s not a diminished one. Inside Number 9: Stage/Fright in Birmingham is a roaring success: thrilling, joyous, unsettling, clever. It honours the past, delights in the present, and reminds you why this TV show has stayed in our bones for over a decade. Go in expecting to be fooled—and you will be. And when the lights go up, you’ll linger in those ghostly echoes, catching jokes you missed and wanting to return, again and again.