With this being the fourth Illyria production I’ve reviewed, I could do much of the job by simply cutting and pasting words and phrases from previous shows—bold characterisation, huge fun, actors in the small cast slipping easily from one character to the next, et cetera, et cetera—and give you a decent impression of their Hound of the Baskervilles.
Likewise, there is a fine balance between honouring the source material while upping the theatricality and laughs—something Oliver Gray always seems to manage with a grace that makes this seem far simpler than it must surely be. Without great care, it would be very easy to slip into mere spoof, but even with the added gags, this adaptation remains very much a Sherlock Holmes story, and one full of intrigue at that.
Other ingredients shared by many of the best detective tales include a list of likely suspects, clues both simple and cryptic, deception, misdirection, mistaken identity, pseudonyms, and disguises, all combined into a very satisfying whole.
Julian Brett brings a very pleasing air of the exceptional to Holmes, as well as an infectious appetite for the chase, their performance instantly making the audience’s enthusiasm a match for the detective’s own.
It was something of a surprise not to see more of Brett in this role, though perhaps, dramatically speaking, giving more stage time to a near-infallible detective may have reduced the suspense somewhat. In any case, that decision allowed the actor to showcase their ability to slip from character to character with ease.
It was Stuart Tavendale’s Dr. Watson, then, that provided more of the central ‘anchor’ to the storytelling—a fact in keeping with the original stories being told from Watson’s point of view. This isn’t merely a functional role, however; in Tavendale’s hands, we also have a Watson who is the moral, empathetically beating heart of the story.
Both Rob Keeves and Margot Navellou bring a real relish and sense of joyful playfulness to a variety of major and minor roles, their acting chops (along with Brett’s many contributions) meaning not only that there’s never any confusion over who’s who, but also making it difficult to believe we’re only watching a cast of four.
Oliver Gray’s direction combines the clarity needed to keep the audience’s minds fully engaged with an irresistible energy and hugely entertaining sense of the absurd. There is more than a hint of real daring in his retelling of this well-known tale, and not just in his ramping up of the less serious side of Arthur Conan Doyle’s writing. As a case in point, his occasional use of extreme changes of pace is positively surreal; though I’ll say no more than that for fear of spoiling the fun.
If there were one or two of the tiniest details that didn’t quite land with my companion and fellow reviewer (my 10-year-old daughter), then this, if anything, made the final summing up even more satisfying for her.
Having previously seen a few of this company’s other productions, my daughter is (like me) a big fan. Indeed, when I told her we were going to see some outdoor theatre, her face lit up, and she asked with palpable excitement, “Is it Illyria?” She was elated that the answer was yes, and even more pleased that this Sherlock Holmes story was easily on a par with the other very fondly-remembered shows.
The fact that the company proudly wears the badge that confirms they are signatories to the Equity Charter for Outdoor Theatre is just one more reason to admire their work.
With the tour running until mid-September, it’s well worth tracking down a performance near you.