Play (2007)
by Steven Canny and John Nicholson
Directed by Lee Mikeska Gardner
Central Square Theater
September 12 – October 6, 2024
With Aimee Doherty (Holmes), Jenny S. Lee (Watson), Sarah Morin (Sir Henry)
A lot of Baskervilles have been murdered and the last one, Sir Henry, is clearly vulnerable. Sherlock and Watson make their way to Dartmoor in Yorkshire to see what’s going on, and naturally, what seems like an attack by a mysterious hound turns up mysteries of a more human nature.
The three talented women actors in this farcical and entertaining rendition of the classic Sherlock Holmes tale take on so much and so many identities that one marvels at their capacities to keep things straight. There is a little of the threat of the staging complexities that one finds parodied in Michael Frayn’s great farce and paean to the stage, Noises Off (1982), but none of the looming terrors compromise this small but engaging production.
At the core is the noted Boston stage actress Aimee Doherty who holds down the Sherlock Holmes role with style and distinction, but she inhabits, as well, about a dozen others. She carries a flaming red wig as Cecily (originally, in the book, Beryl) Stapleton, the presumed sister of Stapleton who hovers around Dartmoor in a pith helmet as the local naturalist. And, as well, she poses as the butler Barrymore and his wife as well. There is a considerable amount of wig and garment switching and a lot of morphing into accents of various sorts. Doherty has a terrific Scottish one that she employs to the fullest.
In the role of Sir Henry Baskerville, Sarah Morin also goes full tilt in bringing that role and a million others to life. She, as well, is a talented morphologist who can jump into a bunch of costumes and change characters in a flash. She is also adept in creating whole arrays of characters, and has wonderful accents to boot as well.
In the role of Watson, Jenny S. Lee does a bit of morphing and taking on other characters, but mostly holds down the straight-(wo)man role, which she fills adeptly and with great energy.
The second act begins with a gag about a Tweet that someone has sent out at intermission complaining about the first act. In response, the three actors do a complete sped-through redo of the first act, but with an added level of abbreviation and attendant hysteria. It’s a useful reminder of what has come before and is also a very funny intro to the second act.
Having such energetic and self-assured women play Holmes and Watson and all the rest is a sweet twist that gives an obvious boost to the idea that these kinds of roles – with the particular kinds of self-possession typically depicted – need not be owned by men.
There is some time, in this production, devoted to breaking through the fourth wall and having the actors speak as themselves at some length to the audience. Given the involvement and length of the two acts, this did not seem to really enhance the show too much. It could be done with much more of a brief nod to get the point across and to enable the actual story theater to go about its business more concisely. I’m not sure what the intent of this baring of the actors’ identities is all about, though it does suggest some of the mysteries curiositly raised in Tom Stoppard’s very early play The Real Inspector Hound (1962). But, in Stoppard’s play, that sort of breaking through is integrated cleverly in the narrative. Here, it is more or less just stated. If the intent is to suggest something about the mystery of theater itself in the context of the mystery story depicted, that seems to get lost in the shuffle.
Nonetheless, as pure and light entertainment, this is a sweet and engaging production with a troupe that gives its all and which garners a lot of laughs along the way.
– BADMan (aka Charles Munitz)
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