Reece Shearsmith

As a big fan of The League of Gentlemen and Psychoville, I'd really been anticipating Steve Pemberton and Reece Shearsmith's new series for some time. I have to say I wasn't disappointed with the first helping of Inside No. 9, primarily due to the great writing from Pemberton and Shearsmith. The script combined the two things they're best at; doing namely awkward comedy and sinister conclusions. The fact that at least half of the episode took part inside a wardrobe was a bold move but one that worked brilliantly. I have to say I laughed almost all of the way through and the duo make you anticipate some of the gags before they happen, especially in the case of 'Stinky John'.

The final act of the story was expertly done and left you re-thinking what had happened once the episode had finished. While I'm a little upset that the duo aren't doing another linear series, as character progression is something they thrive upon, I think it's great that they're being allowed to experiment in this way. After having watched the second episode I can also report that it's completely different from this week's instalment apart from that sinister tone that Pemberton and Shearsmith have perfected over their time together.

Shearsmith and Pemberton's 'knock knock' jokes

In Reece Shearsmith and Steve Pemberton's latest series, Inside No. 9, each episode focuses on the murky characters behind a door marked 'number nine'. Hang on, isn't there an old joke format involving doors?

It has been a long march for The League Of Gentlemen's Steve Pemberton and Reece Shearsmith since their original (very original) TV series in 1999. With each subsequent venture they have scrambled farther over the top. Inside No. 9, a series of one-off plays each taking place at a different address starting with 9, represents a retreat to firmer ground.

Last night's debut was much less fantastical than their last series Psychoville, free of prosthetics and cross-dressing. It dealt, as per, with incest and abuse, but in the manner that Alan Ayckbourn might. The Greek ruled that plays should take place over a single day in a single place. Sardines occurred over half an hour in a single wardrobe. It occupied a wall in an outsized family house, the scene of uptight daughter Rebecca's engagement party. Childhood momentum had propelled her and brother Carl (Pemberton), a man barely out of the closet and about to enter a wardrobe, into a game of sardines that no one wanted to play.

Katherine Parkinson's Rebecca was a superb study in congenital dissatisfaction, about to marry a man whose previous lover is not only still on his mind but in the wardrobe. The whole party ends up in there, including the dull, quiet one (beware the dull, quiet ones, they are usually the writers' surrogates). It is Carl, though, who outs the elephant in the wardrobe, a sexual assault on a child by his bullying father: "I was teaching the boy how to wash himself!" responds the father.

Anne Reid, Julian Rhind-Tutt and Anna Chancellor must have so enjoyed getting dialogue in which each sentence was minutely crafted for them. My favourite line may even have come from Timothy West as the patriarch complaining at a transgressing of sardine rules: "This isn't hide-and-go-seek". Was that posh for "hide and seek" or a unique verbal corruption?

Sardines was a disciplined comedy, but a little bit of discipline, as one of the League's perverts might say, never did anyone any harm. Save for the Tales of the Unexpected twist, I loved it.

Inside No. 9 - comedy makes a triumphant debut

Reece Shearsmith and Steve Pemberton have created a masterpiece.

First in an anthology squeezed from the brains of Steve Pemberton and Reece Shearsmith, with each darkly diverse tale unfolding within a different residence numbered nine. In this opener, which features Katherine Parkinson, Anne Reid and Timothy West, a country manor hosts an uncomfortable game of sardines between a family long since grown apart. A slow burner compared with the episodes that follow, but a decent introduction to a series stylistically similar to criminally disregarded Dawn French vehicle Murder Most Horrid.

Radio Times review

Steve Pemberton and Reece Shearsmith return. If their last macabre comedy drama, Psychoville, was slightly weighed down by servicing a tricky overarching storyline, there's no such problem here since this is a series of one-offs, set in a variety of homes that all happen to be number nine on their street.

The opener is confined not just to a house, but to one room in a fusty old family mansion. And mostly, we're in the wardrobe: two grown-up siblings who used to live here (Pemberton and Katherine Parkinson) are celebrating her engagement with a party - and a game of sardines. As more guests squeeze in, everyone gets less and less comfortable, until the bickering turns to bile.

It's a vicious little one-act, one-room play, deftly staged and superbly acted by a cast that also includes Anne Reid, Anna Chancellor, Timothy West and Tim Key.

New interview: Reece Shearsmith & Steve Pemberton

Be still my beating heart. Steve Pemberton and Reece Shearsmith return to our screens with Inside No. 9, six self-contained comedies with some delicious shocks and surprises. They talk about the series, their other plans and the inevitable prospect of a League of Gentlemen reunion.

Inside No. 9, BBC Two, review

Steve Pemberton and Reece Shearsmith's new comedy is a top-notch, twisted tale that couldn't have come from any other writing team.

Audio: Reece Shearsmith interview

Actor and comedian Reece Shearsmith talks to Front Row's Mark Lawson about writing dark comedy and a possible reunion for the television series The League of Gentlemen.

Inside No. 9 preview

The way Reece Shearsmith and Steve Pemberton write means that you don't need a whole series to get to know and love the characters, as you get to know them pretty well in the half hour episode and there's something quite nice about seeing a snapshot of their life.