Social distancing may have meant there were
a great many empty seats marked by red X’s but the enthusiasm of the reduced audience
was plain to see, happy to be back watching live theatre. A striking layered
backdrop set the scene of the windswept moors of Devon as dramatic music
heralded the start of the show, and a return to live theatre.
This rendition of Conan Doyle’s most famous tale
follows on in a contemporary trend of comedy started by the West End production
of ‘The 39 Steps’, where a classic story is retold as a farce with each member
of a small cast playing a wide variety of roles in quick succession and with
minimal staging. In keeping with this genre, a lot of effort had clearly gone
into ensuring the story was faithful to the original work.
There was a pleasing attention to detail, although Sherlock Holmes’s fluffy great pony tail was a distraction; it being hard to imagine Basil Rathbone or Jeremy Brett ever having sported such a hairstyle. Another curiosity was Watson using a type of Lugar commonly associated with German Army officers in World War Two but other than these items, the costuming and props were excellent, from the tweeds of the detectives to the rural yokels.
The believability of characters with so many frequent transitions was handled very well. When a woman played a man for example, the use of features such as a moustache or sideburns, coupled with great acting, made the transitions completely believable. I have seen other productions where the producers have stretched credulity beyond believable limits. With 'The Hound Of The Baskevilles', however, there were no such mistakes, with any cross-gender parts handled amusingly but professionally. This was just a good, straight farce!
A production of this nature would fall flat without absolute precision timing and this was maintained throughout. Certain scenes involving a bed or a bush required significant changes in the space of a two-second blackout and these were exceptionally well handled. There was just the right amount of minimalist staging to suggest the various scenes with the centre of focus being on the acting. Overall, very well directed by Lotte Wakeman.
And so to the trio of the cast. There was a real sense of chemistry between all three actors, each of whom was more or less constantly on stage with very little respite. There was also a strong sense of energy. Reuben Johnson took the main role of Holmes with the usual level of understated self-confidence associated with the character and Simon Kane (presumably no relation to Harry) gave Watson a touch of the Nigel Bruce as an amusingly, slightly befuddled but loyal assistant. Polly Lister gave a number of very polished male characterisations, including a particularly convincing turn as the Scottish Dr Mortimer. Three very accomplished actors who were given a very suitable vehicle for showcasing their many and varied talents.
After such a long time with virtually no live theatre, Bolton Octagon made an excellent choice in selecting a farce which was simply funny and uncomplicated whilst demonstrating just what theatre is all about with a very physical play displaying all the skills of the actors, the technical team and all the support from back stage. A very enjoyable and impressive production.
Reviewer - John Waterhouse
on - 6.7.21
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