This play originally opened in New York in 1898 and transferred to London in 1901 with the playwright in the main role. Gillette's Sherlock Holmes consists of four acts combining elements of A Scandal in Bohemia, The Final Problem, A Study in Scarlet, The Sign of Four, The Boscombe Valley Mystery and The Greek Interpreter. However, all the characters in the play were Gillette's own creations with the exception of Holmes, Watson, and Moriarty. His creation of Billy was later used by Doyle for The Adventure of the Mazarin Stone. The play was performed regularly until the mid-thirties but not produced much since.

I had mixed feelings on approaching this production. I was concerned it would be old fashioned, melodramatic and stodgy especially as I am a fan of the modernised television versions. But director Andy Marchant had certainly updated this rarely performed piece to be quite slick and atmospheric. The set by Lisa Castle was minimalist and completely effective with a slight nod to the plush drapings which would have surrounded the performance at the time of the original Edwardian staging. Various layers of muslin drapes, swooshed, drooped and slid out of sight. The entire Bridewell Theatre was shown off although as the stairs and balcony were on show it would have been nice to use these even more. However the bare brick was used most atmospherically as many scenes were set in old warehouses and the sound design by Laurence Tuerk certainly added to this. Even a gap in the blacks (the side curtains) was effectively used as a peephole into the foyer of various houses.

Here, the sound design by Laurence Tuerk. was extremely effective, as it also helped place us in each area. The music also enhanced the dark, moody and often frightening tone. Lighting by Robin Snowdon also helped set the moody scenes without making it too dark to see, with director ensuring criminals lurked under streetlamps.

The MANY scene changes which I was dreading; knowing the era of the original play and it's love of numerous scenes, were kept brief by the minimalist set and a variety of wheeled furniture but also kept interesting by the director. This was achieved by the large cast of 15, disguising themselves as other characters or enacting silent scenes as characters we already knew - moving about the stage helping us to feel we were in a busy and dangerous or bustling and genteel Victorian London as required. It helped move things along but must have more than doubled Costume Designers Jess Hammett and Naomi Liddle's workload. Hats must be duly tipped to Stephen Brasher and his stage management crew.

The storyline was slightly convoluted and sometimes difficult to follow. This was partly due to the fact that even mid-week some actors were difficult to hear in an almost packed Bridewell Theatre. However, the action moved along swiftly and we soon figured out what was going on.
The production was kept fresh mostly by the untraditional casting of many roles written as male. Olivia Barton-Fisher as Billie, Francesca Wing as Craigin (although her short hair kept her character non-gender-specific) I also suspect (perhaps mistakenly) that Mrs Forman played by Katie Smith, was originally a male role as she was continually referred to and addressed as merely 'Forman'. None of this seemed odd and worked perfectly well.

However the most effective and unusual casting was of Professor Moriarity - Sherlock Holmes' famous nemesis for those not "Holmes-savvy" - being played by Penny Tuerk. This was kept from us by a false character name in the programme so it was a nice surprise twist. She was very effectively cold and calculating especially assisted by her black and elegant yet unfussy costume of slim skirt, cape and small, simply veiled hat with a single feather, making her look rather like a sharp-eyed bird of prey posed to swoop down on her prey.

However, I felt her identity could have been even more hidden for slightly longer somehow. There was a sound effect I didn't feel quite worked which I believe was to hold off "the reveal" by a moment or so. This was basically an electronic distortion of Ms Tuerk's voice but it was still quite recognisable as female especially if you are familiar with Ms Tuerk's voice from previous roles; and she was there in front of us, albeit with her back to us, but recognisably wearing a frock. Therefore, at least for me, it didn't quite do what it was intended to do and just seemed oddly out of place. But this was one of only two criticisms from me.

The second was perhaps due to the writing. James Keen, appropriately menacing as Alf Bassick - Moriarity's second in command - was seen later in a policeman's uniform along with others. Here he was referred to as "Inspector Bassick", but the way it was said, I wasn't certain if this was sarcastic or 'under-cover-speak', from the other criminal, also in uniform. In other words I was unclear as to whether or not Bassick was actually a 'dirty cop' or just in disguise. However this was very minor and did not affect my appreciation of the role, the performance or spoil the production for me at all.
Eleanor Feldon was an attractive, strong and yet still vulnerable Alice Faulkner. I fully believed she might nurture a soft spot for "hero" Holmes and vice-versa. Elliot Bhana and Lucy Acfield were suitably charming and menacing in equal measure as con-artists James and Madge Larrabee. Adam Moulder, Andy Marchant (stepping into a breach), Samuel Currie-Smith, Peter Novis and Louisa Shindle all played a variety of smaller but important roles, all part of a strongly cohesive ensemble production.

However, as they had the strongest and most recognisable roles, I must single out Julian Farrance and Robert Irvine as Holmes and Watson. Robert Irvine played Watson as wonderfully loyal, patient, sometimes confused and just a little stuffy. His relationship (extremely heterosexual, in case anyone misinterprets my meaning) with Holmes was the heart of the piece. This Sherlock knew he could be secretive, eccentric, wild and put himself in real danger but that his friend would be resourceful and always there when needed. Their energies complimented each other's perfectly; one calm and serious, the other wild and unpredictable. Mr Farrance was a Sherlock much of his time but modern enough for today's audience to be interested. He was dangerous, sharp, wild-eyed, seemingly mad one minute and completely sane the next. He kept us on our toes as much he did the villains and was always completely watchable.
In conclusion then, Sherlock Holmes was an enjoyable entertainment. Well done Mr Marchant, for discovering it, and all of the cast and crew.