Baskerville A Sherlock Holmes Mystery

Oswaldtwistle Players’ production of Ken Ludwig’s “Baskerville: A Sherlock Holmes Mystery,” staged at ReAct Studios, offered audiences an evening of inventive comedy and theatrical agility. Adapted from Sir Arthur Conan Doyle’s’ ‘The Hound of the Baskervilles,’ Ludwig’s version adds playful irreverence to the gothic mystery, as Holmes and Watson investigate a family curse and the alleged presence of a spectral hound on the moors. With just five actors portraying 37 distinct characters, the production leaned into fast-paced transformation and character humour, all framed by a minimalist yet effective staging approach.

Under Matthew Taylor’s assured direction, the production found a confident rhythm that kept the audience engaged from start to finish. His attention to pace ensured scenes transitioned smoothly, never overstaying their welcome, while the cast’s sharp timing added zest to the proceedings. The performance was unmistakably well rehearsed, allowing comedic flourishes, in gestures delivery, and staging,

The show’s staging was immersive and inventive. The audience sat in a square configuration, with the central playing area used dynamically by the actors. Four screens, mounted on surrounding walls, helped punctuate scene changes and signal the passage of time, keeping the momentum tight while cleverly framing transitions.

Technically, the production was tight. Lighting effects, particularly the soft, evocative blues, helped capture nighttime scenes on the moors. Smoke was used strategically to build atmosphere, never distracting. Sound quality was excellent, with clear audio and responsive cues, courtesy of ReAct Studios, ensuring clarity without technical hiccups. Scene transitions were fast and quiet, thanks to Stage Manager Andy Batt, keeping the show’s rhythm throughout.

Michelle Arthur as Holmes brought a razor-sharp clarity to every line, her speech clipped and deliberate, each syllable weighted with intent. Her physical stillness contrasted beautifully with the chaos around her, making even the smallest gesture, a raised eyebrow, a slow turn, feel loaded with deduction.

John Dewhurst as Watson offered a warm, nostalgic charm that instantly connected with the audience. His performance evoked fond memories of Nigel Bruce’s iconic portrayal, loyal, slightly befuddled, and utterly endearing. For those of us who grew up watching Bruce’s Watson in Saturday night reruns, John’s interpretation felt like a gentle homage: a comforting presence amid the theatrical whirlwind.

James Hobin was a comedic force throughout, delivering a string of side-splitting performances. His Mrs Hudson was dry and practical, grounding Holmes’s eccentricity with quiet exasperation. As Cartwright, the street urchin turned thug, James delivered gleeful menace and sharp comedic timing. His portrayal of the coconut-playing cab driver, complete with percussive accompaniment won laughs through sheer unpredictability. As Inga Barrymore, the housekeeper, James was stern, stoic and brimming with theatrical gravitas complete with a gloriously exaggerated accent. Inga’s character was a highlight, equal parts absurd and yet, oddly dignified. As Beryl Stapleton, James was simply fabulous: poised, mysterious, and just the right amount of melodramatic, across all roles, James navigated a wide vocal palette with finesse, showing versatility that kept the audience alert and amused.

Ryan Baron’s Sir Henry Baskerville was a confident blend of Texan bravado and heartfelt sincerity, grounding the mystery with emotional weight. His scenes with Miss Stapleton added a romantic thread amid the comic swirl. Ryan also portrayed several other roles, including a skittish housemaid, a gloriously suspicious Inspector Lestrade, and a verbose tobacconist. The moment Ryan switched between Lestrade and Baskerville mid-conversation was executed with impressive precision. Their accents, gestures, and body language flipped with astonishing clarity, much to the delight of the audience.

Steve Jackson was a delightfully eccentric Jack Stapleton, portrayed as a full-blown naturist, complete with a huge butterfly net and a gleam of mischief. His presence in the projected portraits on all four screens, with his face hilariously superimposed onto famous works of art, had the audience in stitches. Steve’s comic instincts shone brightest in his portrayal of Mr Barrymore, where a migrating hump on his back became a running gag, shifting position, disappearing for a character switch, and reappearing with theatrical flourish. Steve also appeared as the hotel clerk at the Northumberland Hotel, sporting an enormous moustache and a flamboyant Mediterranean accent.

Alison Taylor made a cameo appearance as The Hound, paraded around the playing area with mock solemnity, only to break the illusion with a perfectly timed, deadpan protest: “I’m not getting paid for this.” The line humorously adding to the production’s irreverent spirit.

Costumes by Joyce Teasdale were era-appropriate and added character definition. With so many roles performed by just three supporting actors, costume changes were lightning fast, executed smoothly to comedic and dramatic effect. Each character had a distinct look, from the well-tailored waistcoats to the oversized codpiece worn by Falstaff during the opera scene, and the choices consistently supported tone and humour. Props by Joyce Teasdale and Maria Fitzpatrick were plentiful and of the period, helping set up location and story without cluttering the set.

The comedy overall was well judged, never excessive, and often clever in its interplay between script and performance. Oswaldtwistle Players delivered a lively, well-paced production. The audience remained engaged throughout, responding with frequent laughter and warm applause at the end. This was a show that understood both the genre it played in and the audience it played to, smart, silly, and thoroughly well executed. Thank you to all at Oswaldtwistle Players for inviting me this production, I look forward to many more in the future.

 

© NODA CIO. All rights reserved.