For the most part, the scene changes were well done, but the panels are not opague. It wasn’t as noticeable for the designs and decor but when they’re scrolling text through, it was difficult to read. The effect was there, and it looked like maybe there were two scrims (mesh screens) because all of it projected a double image from where we were sitting. The projections along the back wall may have needed another look at from different angles around the theatre. I enjoyed the use of the projection screens along the forced proscenium to set the scenes, and the effect of the train ride going into tunnels was well done. Even though he inexplicably doesn’t need his cane anymore in Act II, Shaver’s subtle style of playing the straight man worked extremely well in an otherwise bizarre romp.Īs a theatre school grad, I can’t help but look at the staging whenever I’m at a show. I also enjoyed Andrew Shaver’s John Watson, who is the director and understudy of this character for our performance. It was powerful, commanding and his actions stayed true to his character the whole way through. Unanimously among my friends and I, the standout performance was Kyle Gatehouse who played Moriarty. Rather than face the characters who were speaking to her, she would always turn to face the audience for proclamations of all! her! lines! Speaking of lines, it would really help if the lead could enunciate more clearly and, most importantly, remember his lines. John’s over-the-top style also constantly pulled me out of the illusion of the play.
There would be dialogue delivered completely seriously followed by a clownish fall after a chair gives out from under his arm. Inspector Lestrade and Sherlock suffered the most from this, I felt. However the characters dropping in and out of seriousness made the slapstick moments come off strange. I am all for campiness if everyone commits to it the whole way through. There was campy humour at times, but it felt out of place as it wasn’t consistent. While the pacing was certainly quick, it made for a disjointed and difficult story to follow.
The 2.5 hour run time for the performance takes the audience on a fast-paced ride into late 19th century London where a body has washed up and Lord Neville has gone missing. In Toronto for a two week run, David Arquette plays the iconic title character in Starvox’s production of Sherlock Holmes.
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