2024 Awards: Part Four - Sherlock Holmes

Theatre/Events

15) Holmes & Booth 'Solving London'  (Sarah Wise)  [2024 RLG Lecture] - Wellington Hotel, London
14) The Devil's Foot/The Solitary Cyclist [Jeremy Brett SH Podcast] - Riverside Studios

13) Sherlock: The Initiation (Escape Room) - Escape Lincoln

12) Sherlock Holmes and the Whitechapel Fiend - Barn Theatre, Cirencester
11) Sherlock Holmes and the Sign of Four: An Opera - Leeds School of Arts, Leeds
10) Sherlock Holmes and the Strange Case of Miss Faulkner - New Wimbledon Theatre Studio
9) Hudson & Lestrade [Janet Ayers & Matt Parsons] - Groundlings Theatre, Portsea  [HolmesFest 2 2024]
8) The Sherlock Holmes Experience - Knockhatch Adventure Park
7) Selecting a Ghost  [Based on ACD Short Story] - Stanley Arts
6) The Play's The Thing [Including Cushing SECO Reconstruction & 'The Mystery of Cader Ifan'] - Midlands Art Centre

5) BBC Holmes Service [Vin Adams, Nick Downes & David Penrose] - Groundlings Theatre, Portsea  [HolmesFest 2 2024]

4) The Mind of Moriarty (Escape Room) - West 12 Shopping Centre, Shepherds Bush

3) Silent Sherlock: Three Classic Cases [Eille Norwood] - Alexandra Palace  (BFI LFF 2024)

2) BRETT CON 2024 [Jeremy Brett SH Podcast] - Guildford County School

1) Sherlock Holmes and the Poisonwood - Watermill Theatre, Newbury

 

Sojourns

10) Birmingham
9) Sussex Downs
8) Kent/Sussex
7) Sherlockian Theatres (1 & 2)
6) Sidney Paget
5) Bristol
4) Greater Manchester
3) Watlington
2) Belvoir Castle & Flintham Hall
1) The Peak District - Part 2

 

 

Video/Audio

3) Sherlock Holmes Short Stories (Read by Hugh Bonneville) - BBC Sounds  

2) 'Fogtown: Mystery of the Moth Napper'  [TV Pilot]  (click here to view)

1) 'Sherlock & Co'  [Podcast series]   (click here to listen)   [currently up to 23 of the 60 canonical stories, told over 65 episodes so far]

Aside from on-stage, not much new Sherlockiana. However, next year will be very different. Click here for my 2025 Sherlockian preview.

2024 Awards - Part One: Theatre

Plays

15) Cluedo 2 - Richmond Theatre
14) The Hills of California - Harold Pinter Theatre
13) Houdini's Greatest Escape - King's Head Theatre
12) Murder In The Dark - Richmond Theatre
11) The Ballad of Hattie & James - Kiln Theatre
10) The Cabinet Minister - Menier Chocolate Factory
9) Fawlty Towers - Apollo Theatre
8) Drop The Dead Donkey - Richmond Theatre
7) The Lehman Trilogy - Gillian Lynne Theatre
6) Nachtland - Young Vic
5) The Duchess - Trafalgar Theatre
4) Oedipus - Wyndhams Theatre
3) Dr. Strangelove - Noel Coward Theatre
2) A Mirror - Trafalgar Studios
1) The Motive & The Cue - Noel Coward Theatre

Musicals

15) The Wizard of Oz - New Wimbledon Theatre
14) Bronco Billy - Charing Cross Theatre
13) Standing At The Sky's Edge - Gillian Lynne Theatre
12) One Man Musical - Soho Theatre
11) Romy & Michelle: The Musical (WIP) - Turbine Theatre
10) Why Am I So Single ? - Garrick Theatre
9) Hadestown - Lyric Theatre
8) The Curious Case of Benjamin Button - Ambassadors Theatre
7) I Should Be So Lucky - New Wimbledon Theatre
6) Cruel Intentions - The Other Palace
5) Cake: The Marie Antoinette Playlist - The Other Palace
4) Fangirls - Lyric Hammersmith
3) Mean Girls - Savoy Theatre
2) Becoming Nancy - Birmingham Repertory Theatre
1) Kathy & Stella Solve a Murder ! - Ambassadors Theatre

Magic

3) Jamie Allan's Amaze - Marylebone Theatre
2) A Grand Night of Magic - Clapham Grand
1) Asi Wind: Incredibly Human - Underbelly Boulevard

 

Pantomimes

2) Robin Hood - London Palladium
1) Peter Pan - London Palladium

British Musicals: ‘Why Am I So Single ?’ (2024)

 British Musicals: ‘Why Am

 I So Single ?’  (2024)

 

Book, Lyrics & Music by Toby Marlow and Lucy Moss

 

History

After their success with the record-breaking, ‘Six’. Toby Marlow and Lucy Moss, who met in the Cambridge University Musical Theatre Society (CUMTS) faced the ‘difficult second album’. This prompted them to attend a writer's retreat in Connecticut with the kernel of an idea for a musical about diva worship.  However, as they began working on ideas, they were drawn to talk about their own dating lives and those of their friends, and realised that they wanted to write a musical with an “almost boringly normal” setting: two friends sitting on a sofa, drinking prosecco and dissecting their relatably chaotic lives. They also wanted to portray a relationship between a woman and a queer person that felt more authentic than the tired old “gay best friend” trope of the 1990s. As a result, Marlow and Moss began writing a musical loosely based on their own experiences, focusing on the friendship between a female and a character who (like Marlow) is non-binary.

In 2023, a developmental workshop was held at the Lilian Baylis Studio Theatre at Sadler's Wells, including a semi-staged public workshop presentation performed for a ticketed audience. On 14th  February 2024, a launch event was held to announce plans for the musical's premiere, with it originally being billed as ‘A Big Fancy Musical’. It was then announced that ‘Why Am I So Single ?’ would play in the West End at the Garrick Theatre from August 2024. Jo Foster and Leesa Tulley (a veteran of ‘Six’) were cast in the lead roles, with Foster reprising their role from the workshop. Preview performances began on 27th August 2024. The production is directed by Moss, with choreography by Ellen Kane, and a set design by Moi Tran.

 

Story

Loosely based on the lives of its authors, ‘Why Am I So Single ?’ follows two musical theatre writers and best friends, one female (Nancy) and one non-binary (Oliver), who are struggling to navigate the frustrations of being constantly single while also trying to write a musical. It is set in Oliver’s flat with regular flashbacks, and as with its predecessor features songs in a variety of styles.

 

In A Nutshell

‘We’re not leaving this flat until we’ve worked out why we are so single !’

 

Production

I caught what turned out to be Press Night. I was in the back row of the Circle at the Garrick Theatre, but had a wonderful view. Following a prologue, we found ourselves in Oliver’s flat, and were introduced to our protagonists, ‘Friends’ and Musical Theatre enthusiasts Oliver (Foster) and Nancy (Tulley), renamed after characters from their favourite musical, following another disastrous dating experience for Nancy. Over multiple glasses of wine, they decide to work out quite why their dating life is so disastrous. The ensemble were swiftly put to work firstly as furniture in the flat, and then in a rapid rush through Oliver’s last eight terrible dates. In fact, save Noah Thomas playing their mutual friend, Artie, none of them had a regular part, each playing a multitude of clubgoers, potential suitors etc.

The script was very funny, and given the concept, very meta with the fourth-wall being regularly broken. There were also a few musical theatre parodies, including a brief callback to Marlow & Moss’ previous success. The songs also came thick and fast, with the clever lyrics that made ‘Six’ such a success, meaning that I almost wished for surtitles as some of them were rattled out. (Also if the song title ‘I Got Off The Plane’ means anything to you, this musical is for you) The choreography, particularly from the ensemble was also wonderful. The plot as was the writers’ intention was wafer-thin, but that didn’t matter, with very little happening, despite them now having twice the time to fill. The set was understated, but very clever, and I was particularly amused by a pun written backwards on a café window in one flashback.

Both leads were amazing, particularly when they were telling each other home truths, when Foster went into full diva/nightclub singer mode, and Tulley’s emotional moments, particularly her song relating to loss. The whole cast received a massive ovation during the bows and this would seem to be perfect for any fans of ‘Everybody’s Talking About Jamie’ or ‘Six’.

 Definitely recommended.

 

Why Am I So Single ? runs at the Garrick Theatre, London until at least 13^th February 2025.

 

Favourite Song

It has to be – ‘C U Never’ – Artie’s big number (with its amazing choreography), closely followed by ‘Interlude in B Minor’, ‘Disco Ball’ and the title song ‘Why Am I So Single ?’

 

Did I Buy The Cast Recording ?

I will, when it is released.  

 

Links

Production Website: https://whyamisosingle.com/

Videos:  Why Am I So Single? - YouTube

THEATRE REVIEW: ‘Sherlock Holmes and the Sign of Four: An Opera’ (Leeds School of Arts, Leeds)

Composer/Librettist: Lliam Paterson.

 
This opera was commissioned by Northern Opera Group, following their Artistic Director, David Ward, reading the entire Canon over Lockdown, and wondering what a Sherlock Holmes opera would be like. Having attended the premiere of Lliam Paterson’s, ‘The Angel Esmerelda’ (a new opera commissioned by Scottish Opera adapted from Don DeLillo’s short story of the same name) just prior to lockdown, Ward was struck by his musical and dramatic skill, and so was given the task of bringing Holmes to the operatic stage. It was decided that they wished to present a canonical story, and with the short stories lacking enough narrative for a full evening’s entertainment, they looked at the four novels, being briefly tempted by ‘The Hound of the Baskervilles’, but realising that ‘The Sign of Four’ (the second novel) presents a love story, lost treasure, and a climactic chase along the Thames, they chose this one instead (my favourite of the novels for these reasons). It took four years to bring the opera to completion, and the world premiere was the centrepiece of 2024’s ‘Leeds Opera Festival’, with all other events themed around it under the banner ‘Murder Mystery and Music’.

There were only four performances and I attended the second. I was the first to take my seat in Leeds School of Art’s basement theatre. The set was a London skyline, mirrored hanging down on the right-hand-side of the stage. As you would expect the 180 seat venue was entirely full. 

 

The performance began with the scene from ‘A Study in Scarlet’ with Holmes and Watson meeting in St Bartholomew’s Hospital, then moved to Baker Street where they quickly moved into the plot of SIGN, with Watson scolding Holmes for using cocaine, then being upset by his less than diplomatic deductions about Watson’s late brother based on his old watch. Holmes was being played by Edward Hawkins (Bass) and Watson by David Horton (Tenor), and I initially found them singing everything (in the main canonical dialogue) distracting, as well as the constant surtitles on a screen at the right of the stage (despite it being sung in English). Their voices complimented each other, as did Hawkins’ height mean that he towered over all over characters. Soon, our heroine, Mary Morstan, played by Ellen Mawhinney (Soprano) was appearing at Baker Street, and outlining why she needed our heroes’ help, captivating Watson in the process. The plot moved at a good pace, and the introduction of Dominic Mattos (Countertenor) as the effete Thaddeus Sholto provided welcome comic relief, with him stealing every scene that he was in. Having discovered the dead body of Thaddeus’ brother, Holmes was able to demonstrate his deductive skills, leading to a trail through London with a wonderful puppet Toby the dog (who looked more like Sprocket from ‘Fraggle Rock’ than any previous Toby that I had seen), puppeteered by Assistant Director, Marie Riley. 

The murderer’s current location being unknown and Holmes unsure what to do, it was time for the interval after a 75 minute first half. The second half then went on for 40 minutes with its boat chase being well realised with only limited props. However, I must admit to being a little disappointed that although Tonga, the Andaman Islands Pygmy was referred to repeatedly, he did not actually appear. This all led to a wonderful final scene in Baker Street where Watson is preparing to leave to get married, but a new arrival causes him to take his jacket off again and take a seat.

 

The ensemble were all excellent, comprising Trevor Eliot Bowes (Bass), Zahid Siddiqui (Tenor), and Katy Thomson (Soprano), whose main parts were Jonathan Small, (a non-Welsh) Inspector Athelney Jones, and Mrs Hudson respectively, but who also played a number of other parts. However, it was not as clear as it could have been when Thomson was playing Mrs Cecil Forrester, Mary’s employer and friend, rather than Mrs. Hudson.  I could also have had more scenes with Mawhinney’s Morstan, even if this meant adding them to Conan Doyle’s original.

The music was excellent, and the adaptation was also good. In an ideal world, I think I would have preferred a play with music, ie. the music throughout with spoken dialogue, as at no point were they singing to the music. However, this was the first opera that I have attended, and further such experiences could lead me to love the art form as much as Holmes himself. The direction, from David Ward himself, was also excellent.

In summary, a good night out, and hopefully it endeared opera fans to Holmes, more than it endeared myself to opera.

 

Rating:   (4½/5)    

 

 

Links:  Northern Opera Group - Sherlock Holmes and the Sign of Four

           Promotional Video

 

 

Sherlockian Sojourns - Special # 9b: ‘I Can Never Resist A Dramatic Situation’ [MAZA] – Sherlock Holmes’ London Theatres – Part 2: Lyric Theatre & Theatre Royal Haymarket

 

Having visited five theatres with Sherlockian or Doylean connections on a previous sojourn (including a ‘Behind The Scenes’ tour of the Lyceum), it was time to add two further theatres on one of my weekly theatre visits.

Opening its doors for the first time in December 1888, the Lyric Theatre is the oldest surviving theatre on London’s street of theatres, Shaftesbury Avenue. Designed by the architect C J Phipps, it was originally built for operetta and has since hosted a wide range of drama, comedy and musicals. It is currently home to ‘Hadestown’, a Broadway musical which intertwines two love stories from Greek Myth – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone - in a score that is a joyful combination of folk, pop, Dixieland and blues. This was the main reason for my visit. However, the Lyric Theatre was also the location for two of Conan Doyle’s non-Sherlockian plays.

The first, in May to June 1906, featured Conan Doyle’s third most prominent hero (after Holmes and Challenger), Brigadier Etienne Gerard, a French Hussar of the Napoleonic army, who appears in a total of 18 stories. ‘Brigadier Gerard’ was a 4-act play written by Conan Doyle, which starred Lewis Waller as the title character. (Waller also played Gerard in the silent movie 'Brigadier Gerard' in 1915). In his autobiography, ‘Memories and Adventures’ (1924), Conan Doyle described his star as “a glorious fellow”, stating that “his premature death [was] a great blow to our stage”, and finally commenting “What virility! What a face and figure!”.

The second also starred Waller, this time as the hero, Colonel Cyril Egerton, in ‘The Fires of Fate’, another 4-act play written by Conan Doyle (this one subtitled ‘A Modern Morality Play’), which was based on his novel, ‘The Tragedy of the Korosko’, concerning a group of European tourists travelling on the Nile in Egypt on a boat such named when some Dervish warriors come alongside the boat threatening the passengers. This play was first performed at the Lyric Theatre between 15th  June 1909 and 11th August 1909, before transferring to the nearby Theatre Royal Haymarket from 12th to 31st August 1909, starring Ben Webster replacing Waller who started a provincial touring from 23rd August with a new cast. The play then returned back to the Lyric Theatre from 6th September until 9th October 1909.

 

Having some time to waste before the show, I made my way to the theatre via the Haymarket, and stopped to take photos of the outside of the Theatre Royal, where ‘The Fires of Fate’ had its second run. which I last attended to watch ‘Only Fools and Horses: The Musical’. The Theatre Royal Haymarket, is a Grade I listed building designed and constructed by John Potter in 1720. It is one of Britain’s most treasured theatres, and is the third oldest London Playhouse still in use. This theatre also has a canonical connection as it was here that Jonas Oldacre claimed to have been whilst his wife and her lover ran off with his life savings in ‘The Retired Colourman’.

“On that particular evening old Amberley, wishing to give his wife a treat, had taken two upper circle seats at the Haymarket Theatre. At the last moment she had complained of a headache and had refused to go. He had gone alone. There seemed to be no doubt about the fact, for he produced the unused ticket which he had taken for his wife.” – JHW  [RETI]

Making my way up Haymarket, I reached Piccadilly Circus and then Shaftesbury Avenue. The Lyric is the first theatre in, and I took some photos of the outside, before having my bag checked and making the climb up the multitude of stairs to my Balcony seat. Once in my seat, I manged to take a few photos of the auditorium as it filled up, but there was a much better photo of the interior in my programme.

   

   

After an enjoyable evening, I made my way back to Shaftesbury Avenue, and the Underground, wending my way home.

THEATRE REVIEW: ‘Sherlock Holmes and the Poison Wood - The Musical' (Watermill Theatre, Newbury)

 

Book and Lyrics: P Burton-Morgan.

Music and Lyrics: Ben Glasstone.

 
I originally saw this new British Musical from Metta Theatre (in a cutdown form) at The Other Palace as part of MTFest 2023 in February 2023. Burton-Morgan and Glasstone have written two previous musicals together – ‘The Rhythmics’ (about an all-male Rhythmic Gymnastics Team) and ‘Cells’ (a musical film starring Clive Rowe in which two strangers’ lives become unexpectedly intertwined) – and this represents their partnership’s take on another partnership, Holmes and Watson – adapting Sherlock Holmes into a contemporary rock musical.

The scene is set in London 2028, where part-time detective Sherlock Holmes is shredding away on his electric guitar, when his landlady, professional nutritionist and blogger (on food and Holmes’ cases) Dr. Amanda Watson interrupts him with a case – a poisoning at the infamous environmental protest camps in Oakenwood. They must move fast to uncover the truth before the deepfakes and digital manipulations of their arch nemesis, tech billionaire and international potato magnate, Jan Moriarty, get them cancelled…permanently.

The Watermill is a wonderful theatre, and I was sitting upstairs towards the back of the Circle. It turned out that I had booked for the Relaxed Performance which also featured surtitles. However, by sitting up in my seat I could use the venue’s roof to obscure these as I was finding them distracting. Flicking through the programme, I was pleased to see that Gillian Kirkpatrick and Richard P. Peralta, who I saw in the MTFest version as Jan Moriarty and Marlon Lestrade, were reprising their roles. Holmes was being played by Dylan Wood and Watson by Me’Sha Bryan.

The show opens with two of its stronger numbers, ‘The Truth’ and the ridiculously catchy ‘Elementary’ both sung by Holmes and Watson, before allowing the returning cast members to shine in ‘The Joy on My Tongue’ (Lestrade) and ‘Control’ (Moriarty). The leads then got their own individual songs, before Em Williams as non-binary activist Yorri held us all entranced in her performance of ‘Flower’, before the shocking end of Act 1. The script was very witty, and the patron next to me seemed to be laughing throughout, even on occasion on his own. All the songs were very catchy, and the back projections and a versatile desk, cupboard and chair portrayed a series of locations very effectively.

Act 2 featured mainly reprises, but also included the excellent ensemble number ‘The Game is Afoot’. A chase across London was well realised, and all too soon the amazing cast were taking their bows, and I was having to shuffle out of the theatre, scanning a Spotify code to access the Studio Cast Recording (featuring Eleventh Doctor companion, Arthur Darvill, as Holmes) to listen to on my journey back to Newbury Station.       

Very, very highly recommended. Who do I need to hassle to get a tour ? 

Rating:  (5/5)    

Links:  Sherlock Holmes and the Poison Wood — Metta Theatre

Studio Cast Recording    (featuring Arthur Darvill)