Featured Post

The brown word: Death on the Throne @gatehouselondon

Image
Weā€™re warned at the start of the show with an upbeat number that this is not the usual sort of musical. And it turns out to be just that. But with boundless enthusiasm and energy from its two leads, who deploy a range of voices and breathtaking energy to create a series of voices for puppet characters, a bedtime story becomes a silly oddball tale about four souls stuck in purgatory. With puppets. And various toilet humour references. Itā€™s currently playing at Upstairs At The Gatehouse . The piece starts as a bedtime story. Daddy (Mark Underwood) is about to read a bedtime story for Louise (Sarah Louise Hughes). But her stomach felt funny, and soon, she went to the bathroom. Then, for reasons that seem to only make sense in the confines of the show, they start telling the story of four people who died in unfortunate circumstances in the bathroom. Depicted as puppets, theyā€™re stuck in purgatory as St Peter doesnā€™t have enough space for each of them in the afterlife. And so begins a puppe...

Christmas Mysteries: A Sherlock Carol @MaryleboneTHLDN


A mash-up of Charles Dickens's A Christmas Carol and Arthur Conan Doyle's Sherlock Holmes would seem an unlikely pairing. Yet it provides a surprisingly fun Christmas-themed adventure. These two Victorian tales (albeit separated by about 40 years) provide the basis for an inspired adventure at Christmastime that just also happens to turn out to be a murder mystery as well. With lavish costumes, a few spooky set pieces and some good old-fashioned stage trickery with lights and a lot of smoke machines, it is hard to resist. It returns to the Marylebone Theatre for Christmas after a run there last year. 

The premise is that after Holmes sees off the criminal mastermind Professor Moriarty, he is left adrift in London. People thought he was dead, and he might as well be. Disinterested in the misdeeds of other Londoners, Holmes has even given up on his friend Dr Watson. It's almost as if he has become a Scrooge. Or half a Scrooge, moping about shouting, "bah" in response to any festive greeting. Yet he feels that everywhere he goes, he is being haunted by Moriarty. Meanwhile, Scrooge (of the Christmas Carol fame) has been found by a doctor who suspects there was foul play. 


It helps to know your Sherlock and your Christmas Carol. Although given the number of productions of A Christmas Carol that run during December each year, following along for half of the story should be a doddle. But we get a flash of what makes Holmes so fascinating and the play so much fun, as he quickly sizes up the characters he meets based on small observations of their character. This is first evident when he meets the doctor. He determines that he was poor at an early age, and illness at the time could have killed him. The dead man (Scrooge) was his benefactor. In an instant, you realise this is Tiny Tim as an adult. 

When the doctor informs Holmes there was a diamond on its way to Scrooge before he died, there is just enough to spark interest in taking the case. Then, the story is off and takes the audience on a ride full of laughs, mystery, and mild peril.

A cast of six led by Ben Caplan as the grumpy Sherlock Holmes and Kammy Darweish as Ebenezer Scrooge centre the piece. The others, including Rosie Armstrong and Richard James, play various characters along the way. 

A Sherlock Carol is written and directed by Mark Shanahan and continues at Marylebone Theatre until 7 January.

ā­ļøā­ļøā­ļøā­ļø


Photos by Alex Brenner 



Popular posts from this blog

Opera and full frontal nudity: Rigoletto

Fantasies: Afterglow @Swkplay

Play ball: Damn Yankees @LandorTheatre