The number of stage adaptations of Peter James hugely successful “Grace” mysteries now stands at seven. For arguably the most prolific and popular crime writer since Agatha Christie, this is perhaps no surprise: his books have, after all, sold over 23 million copies and been translated into 38 languages.

The latest offering in this successful franchise plunges us into a world of deep fakes and forgeries. Harry and Freya Kipling, an innocent married couple, unwittingly purchase a missing 18^th century French masterpiece by Jean Honoré Fragonard at a car boot sale, an accident which quickly comes to the attention of a nefarious criminal art dealer, as well as Detective Superintendent Roy Grace who, of course, just happens to be simultaneously investigating the cold-case murder of another shady art dealer several years previously.

As with 2022’s Wish You Were Dead, this all feels cosily and comfortably familiar, but in all the right ways. Unlike ITV’s edgier, grittier adaptation for the small screen where events on the mean streets of Brighton are viewed through the eyes of a more cynical, hardboiled Roy Grace, this is far from a taut psychological thriller, with the tale preferring instead to once again plough a more upbeat and lighthearted furrow, thanks to Shaun McKenna’s clever and accessible adaptation. And the production strikes a surprisingly clever balance between humour and tension, giving us plenty to laugh at while providing enough plot intrigue and suspense to ensure that, even if not perched on the edge of our seats, we are at least sufficiently invested in what is an engaging and enjoyable storyline.

Director Jonathan O’Boyle reunites stalwarts George Rainsford and Gemma Stroyan to reprise their roles as Grace and DS Bella Moy respectively, both of whom do so with an assured ease and familiarity. Recognisable faces from a slew of TV and theatre shows make up the rest of the cast: Ore Oduba adds some comic menace as the dodgy dealer Stuart Piper; Sean Jones swaps his long-running role as Mickey in Blood Brothers to play another Scouser on the wrong side of the tracks, and there is an hilarious cameo from Adam Morris as an Antiques Roadshow-esque art expert. However, Jodie Steele does indeed steal the show as an art consultant femme fatale, while Mark Oxtoby seems to be enjoying himself enormously as Dave Hegarty, a former art forger-turned-copyist and identical in almost every way to James’ friend and former forger David Henty on whom he is entirely based – a literal case of art imitating life.

An ambitious, lavish stage set, courtesy of designer Adrian Linford, is split between the Kiplings’ home stage right, whereas stage left alternates between Piper’s luxury abode complete with extensive but ill-gotten art collection, and Hegarty’s artist’s studio, with Grace and Moy performing most of their police work on the forestage in the transitions between. Technically, the production looks and sounds good without having to do too much: clever lighting of the two halves of the stage means limited set changes and a therefore a slick pace for a show that comes in at just under two hours without ever feeling over-long.

Like its predecessors, this is an enjoyable and very watchable show with some clever twists. It may not quite be a masterpiece, but Peter James is certainly a master of his craft. Further stage adaptations seem inevitable for James’ winning formula. And why not? Provided his use of titular puns do not reach a Dead End.

★★★★☆     Tony Clarke    30 May 2025