Tag Archives: Alex Brenner

A Sherlock Carol

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Marylebone Theatre

A SHERLOCK CAROL at the Marylebone Theatre

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“one of the cleverest and most entertaining of the current festive productions”

Sherlock Holmes was just thirty-seven years old when he was reported to have died in the Reichenbach Falls in 1891; having fallen to his death in a struggle with the criminal mastermind Moriarty. The sleuth reappeared three years later, however, to resume his detective business, but becomes filled with self-doubt and slips into semi-retirement. Meanwhile, not too many yards away from 221b Baker Street, Ebenezer Scrooge is enjoying his twilight years. Nearly fifty years on from his spirit induced epiphany one Christmas Eve, he remains a respected and admired member of society, frequently visited by his close friend and beneficiary, Dr Timothy Cratchit.

It is no surprise then, that these individuals’ paths should cross as the nineteenth century is drawing to its close. There is no historical evidence to the contrary, so the events that occur in Mark Shanahan’s ingeniously clever and witty play, β€œA Sherlock Carol”, are entirely plausible. If a little bonkers. After all, when you have eliminated the impossible, whatever remains, however improbable, must be the truth. Okay, the sceptical among you will be clamouring to remind me that these are fictional people, but I say β€˜Humbug’ to that – let’s suspend our disbelief.

It seems that β€˜A Christmas Carol’ is everywhere, so this is a perfect antidote to relieve the bloated overindulgence of Dickens at this time of year. A glorious mash up, it is recognisable as both β€˜A Christmas Carol’, and as β€˜Sherlock Holmes’, but the crossover is so tightly packed that characters and characteristics are well and truly mixed up. The styles as untangleable as last year’s decorations brought down from the loft.

“The cast can barely keep the smile from their faces, yet each and every one is a master at characterisation”

Holmes (Ben Caplan) is a haunted, cantankerous scrooge, insulting carol singers and bleating misanthropically at all the merry makers on Christmas Eve. He rudely shuns Watson’s (Richard James) invitation to join him for Christmas lunch. Enjoying (or rather not particularly enjoying) a melancholy drink in a melancholy tavern his solitude is interrupted by Doctor Timothy Cratchit (Devesh Kishore) who implores him, unsuccessfully, to investigate the mysterious death of Scrooge (Kammy Darweish). Holmes famously doesn’t believe in ghosts, but is nevertheless visited by a spectral Scrooge in the form of the ghost of Christmas past, present and future rolled into one. Reinvigorated he then decides to take on Cratchit’s case. A case that involves a precious blue diamond, a misplaced goose, poisoned candles, a recalcitrant maid, a bumbling Inspector Lestrade, a young Fezziwig and quite a few elementaries. Don’t ask me! Go and figure it out for yourself. You certainly won’t regret it.

The cast can barely keep the smile from their faces, yet each and every one is a master at characterisation, many of them grappling with multiple personas. Virtuosity and comedy are as intertwined as the plotlines. There is a Victorian music hall quality to it all, with the story telling and the performances taking centre stage with no reliance on modern trickery or high budget effects. Yet at the same time there is a timeless and modern quality to the presentation that appeals to all. Fans of Arthur Conan Doyle and of Charles Dickens will love it. So will newcomers. And non-fans. That covers all, I think.

At one point Watson laments the fact that Sherlock is β€˜not the man I thought he was’. He hits the nail on the head. Except that this is nothing to lament, but to celebrate instead. β€œA Sherlock Carol” is certainly not the Sherlock you’d think it to be. Nor the Christmas Carol. But it is one of the cleverest and most entertaining of the current festive productions. You don’t need a detective’s skills to discover that. Just the ability to find Baker Street on Google Maps. And enjoy it. β€˜Come, the game is afoot!’.

 


A SHERLOCK CAROL at the Marylebone Theatre

Reviewed on 30th November 2023

by Jonathan Evans

Photography by Alex Brenner

 

 

Previously reviewed at this venue:

The Dry House | β˜…β˜…Β½ | April 2023


A Sherlock Carol


A Sherlock Carol

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Sputnik Sweetheart

Sputnik Sweetheart

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Arcola Theatre

SPUTNIK SWEETHEART at the Arcola Theatre

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Sputnik Sweetheart

“Melly Still’s direction is artful, feeling at times more like dance”

Sputnik Sweetheart is a mournful and thoughtful production which explores philosophical questions of identity, desire and purpose.

In Tokyo in 1999 Sumire (Millicent Wong), a young precocious writer, rings her best friend, K (Naruto Komatsu), from a phone box every night, she doesn’t sleep. Their friendship, coloured by his desire for her, sees them questioning the meaning and purpose of their lives. When Sumire falls for an older woman, she moulds herself into a completely new person, and the play questions how far she will go to pursue this newfound love. Told through K’s eyes the production plays with narrative voice, and the way his emotions cloud his perceptions.

There are real gems in Bryony Lavery’s adaptation of Haruki Murakami’s novel. Melly Still’s direction is artful, feeling at times more like dance. The stage is surrounded by three screens, onto which line drawing animation is projected, like a graphic novel, beautifully designed by video designer Sonoko Obuchi. This use of multimedia works well, often serving to lighten the more serious live performance. A motif of a cucumber representing an erection flashes up repeatedly, eliciting a solid and regular laugh from the audience. The merging of the forms is one of the most effective parts of this production, it feels fresh and bold, and creates layers within the performance, which allow the surrealism of the plot to flourish.

“This is an ambitious play, and parts do shine”

Lavery’s writing is stylised and lyrical. It is very beautiful, but feels more like the prose it is adapted from. The dialogue is stilted and never quite comes to life. However, part of this may be in the performance, as Natsumi Kuroda, who plays Sumire’s love interest Miu, shines as she brings the words to life. Kuroda is hilarious, and at times a little sinister, Miu’s imposing vision of how Sumire’s life should look feels deeply controlling. However, the most powerful moment in the piece is her monologue, performed from atop a revolving cube, and this is where Kuroda’s talent truly takes flight. The play is watched over by the mostly silent figure of Yuyu Rau, who sits sketching as the plot takes place. While this does play with narrative voices, and the concept of the viewer, it does not quite work.

Shizuka Hariu’s design is minimalist, but evocative. A cube, with one wall as a two-way mirror, acts as phone box, Ferris wheel, and portal into another realm. Phone cords wrap around the characters as their romantic entanglements complicate. Malcolm Rippeth’s lighting design also assists in the boundary-less nature of this production.

This is an ambitious play, and parts do shine, but there is a confused strain to it, which prevents it from ever really taking off. It also veers quite suddenly into the surreal, changing the rules, in a way which is part whimsically charming and part convoluted.

 

SPUTNIK SWEETHEART at the Arcola Theatre

Reviewed on 30th October 2023

by Auriol Reddaway

Photography by Alex Brenner

 


 

 

 

Previously reviewed at this venue:

Gentlemen | β˜…β˜…β˜…β˜… | October 2023
The Brief Life & Mysterious Death Of Boris III, King Of Bulgaria | β˜…β˜…β˜…β˜…β˜… | September 2023
The Wetsuitman | β˜…β˜…β˜… | August 2023
Union | β˜…β˜…β˜… | July 2023
Duck | β˜…β˜…β˜…β˜… | June 2023
Possession | β˜…β˜…β˜…β˜…β˜… | June 2023
Under The Black Rock | β˜…β˜…β˜… | March 2023
The Mistake | β˜…β˜…β˜…β˜… | January 2023

Sputnik Sweetheart

Sputnik Sweetheart

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