Moriarty

Set in Victorian London, Moriarty charts the latest battle of wits between the famous detective Sherlock Holmes and the criminal genius Professor James Moriarty. As Holmes and his ever-loyal companion, Dr. Watson unravel Moriarty’s nefarious plans, they encounter spies, double agents, and unexpected allies. The plot moves at pace, full of deception, sharp exchanges, and sudden revelations, all building toward an inevitable confrontation between two great minds.

The production was anchored by Sherlock Holmes, portrayed by Nathan Leach, whose crisp delivery, presence and calculated poise made for a compelling detective - having seen and worked with Nathan onstage, I was looking forward to seeing his performance, and he did not disappoint. 

Matching him step for step, Dr. Watson, played by Chris Barron, balanced warmth with a touch of exasperation, a steady foil to Holmes’ relentless logic.

Professor Moriarty, embodied by Richard Warburton, delivered a chilling, magnetic performance, never overplaying the villain, but letting menace simmer beneath every word- not an easy thing to do when you're also playing the role of Mycroft, Sherlock's brother..

Strong supporting turns came from Inspector Lestrade, realised by Mattew Ashton (also King Otto), whose no-nonsense approach grounded the more eccentric leads.

Irene Adler was deliciously brought to life by Aimee Ashurst, adding intelligence, feistiness and ambiguity to the production.

Rob O'Hara probably played the most roles in the production, and had more costume changes than a panto dame, taking onboard Mrs Hudson, Paddy Keys, Mrs Gasner, Rupert Perkins, Bartender and Toby, playing the female characters a la Python and looking rather comfortable in a dress.

Other characters were played by Jenny Schofield, Helen Newell, Tony Butcher, and James Beech- all of whom handled their roles with confidence and clarity. Every actor handled the proximity of the audience in the round well—nothing was overstated, everything measured.

One cannot forget the two narrators, John Brice and Phil Cooper, giving us a comic-stripesque commentary adding to the story.

Staging in the round always presents unique challenges, but this production embraced them. The minimal yet effective set design allowed fluid scene changes, with props and set pieces moved sparingly to keep focus on the actors. Blocking was well handled; characters moved naturally, ensuring no side of the audience was left disengaged. The close quarters of Coronation Hall heightened the tension, leaving no room for distraction or distance.

Lighting was used economically but effectively. Shifts in light subtly guided the audience’s focus—isolating moments of revelation, suspicion, or danger. Shadows were cast deliberately, lending an almost claustrophobic atmosphere to key scenes. 

Sound effects were understated but well-timed: gunshots, footsteps, and off-stage murmurs added depth without detracting from the live tension unfolding in front of us. Dialogue projection was clear and consistent, crucial given the hall’s acoustics and the format.

Initially written for five performers where Ulverston where using eleven, I did enter the theatre with mild trepidation, as the writers generally know how they want their productions performed and received, and changing the writers work to suit, generally has a habit of backfiring. Whilst I do think having the original number of cast would have added to the frenecity of the production, it didn't actually matter that there were more people playing the roles.

Moriarty at Ulverston’s Coronation Hall proved to be a sharp, confident production that made excellent use of its in-the-round staging. The cast’s strong performances, coupled with precise technical direction, resulted in an engaging evening of classic detective drama. Fans of Holmes, as well as lovers of well-structured theatre, left thoroughly satisfied, as, no doubt, did the Director of the production, Tony Smith.

Thank You Ulverston Outsiders, for your invitation and hospitality

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