What a grand adventure I experienced this past Sunday when I attended the IRT's magnificent performance of Jeffrey Hatcher's play, Holmes and Watson. I knew to expect something brilliant because I enjoyed the IRT's production of Hatcher's version of Dr. Jekyll and Mr. Hyde back in 2012. Several of the actors from Jekyll and Hyde were back again for this Arthur Conan Doyle spin-off. Moreover, I had the privilege of attending with a good friend and playwright herself, Stacy Post (and also ran into a book club member). We caught the tail-end of the pre-performance talk and had an excellent discussion while waiting for the play to commence, as Stacy explained more about the actors (members of the Actor's Equity Association, thus a restriction on photography).
The set, designed by Robert Mark Morgan (scenic designer) and Michael Klaers (lighting designer), was stunning. With moveable side staircases and hallways, the set draws your attention to a center stage with a background of a formidable bar structure in the shape of an eye (where we view most of the flashbacks). It evokes the barren feel of an insane asylum set on an island in Scotland. Plus, the skillful use of lighting combined with sound effects brings out the feel of the Reichenbach Falls (the place where Holmes supposedly met his demise).
In the words of Morgan (found in the playbill), "The location... is a designer's dream, simply because of the limitless possibilities it presents... a fortress that became a lighthouse and then became an insane asylum.... We've attempted to approach the set and staging in layers with the knowledge that, like the Holmes story itself, it will reveal itself to you as the play goes on." That is what I most loved about the set design: the way it moved and shifted to reveal different aspects of the story bit by bit.
The tale is simple, yet provides an element of mystery and a complete turnaround of understanding by the end. The ground we rest upon is always shifting. When Dr. Watson is called to the isolated asylum to inspect three inmates all claiming to be the deceased Sherlock Holmes, he doesn't know what to expect. As he confers with each inmate, the audience shares his confusion - which is the real Sherlock Holmes? Is it inmate #1 - who, from the very first moments, sounds much like the deductive clue-splicer? Is it inmate #2 - a ragamuffin of a man, bound in a straight-jacket for the safety of himself and others? Or is it the blind, deaf, and mute inmate whose catatonic state belies incredible trauma? And what are the authorities prepared to do once Watson identifies the real Sherlock?
I have to admit, I practically jumped out of my skin with every artificial gunshot (even when I saw the pointed weapon and knew the shots were immanent). I marveled at the expert portrayal of the characters that kept me guessing clear to the end. I loved the matron's exaggerated pointed glares at Watson. The play was laced with humor throughout. Plus, I did not suspect the turn of events until the moment they played out. Indeed, the clues burned away even as you viewed them!
Days are limited, with performances running through October 21st. If you live in the Indy area and haven't secured tickets, it is a show well-worth the price of admission. As we left the theatre, Stacy wished aloud that she had the time and opportunity to see it again. Much like my reaction to my recent read of Ghosted, it begs to be experienced again with the full realm of knowledge at your disposal from the outset. If you still need convincing, take a moment to view this trailer, certain to whet your appetite for the thrilling experience of this play:
2 comments:
Many thanks for the kind words about the set! I am so glad you enjoyed it.
Robert Mark Morgan
Robert Morgan - It was very well done - created such a stunning feeling of narrowing in on past actions (excellent use of spotlight for the jump from the falls) and widening for the here and now of Watson's investigation. I thought it was the best possible conceptualization of the stark environment!
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