Tag Archives: Max Dorey

MS. HOLMES & MS. WATSON – APT 2B

★★★

Arcola Theatre

MS. HOLMES & MS. WATSON – APT 2B

Arcola Theatre

★★★

“a funny show that does a fine job in entertaining its audience”

It’s clear from the moment actor Tendai Humphrey Sitima comes onstage and welcomes us with his improvised prologue that this is no ordinary Sherlock Holmes narrative. It’s wacky, whimsical and most importantly, it takes place post pandemic. Writer Kate Hamill transports us to…today and brings out a fresh dynamic between the infamous duo of Sherlock Holmes and Dr. John Watson, whose genders have been swapped to female.

Dr. Joan Watson finds herself in a transitional period and is somehow convinced to live with Holmes, a manic and eccentric consulting detective. For Holmes, everything is a puzzle that needs to be solved and she invites Watson in a world of clues, puzzles and mystery. Other well-known characters from the Sir Arthur Conan Doyle’s original stories appear, like Mrs. Hudson, Irene Adler, Lestrade and of course, Holmes’ nemesis, Moriarty. Nothing is what it seems as we join Holmes and Watson in a chase that leaves us breathless.

The relationship between Holmes and Watson has a playful quality and an underlying romantic element, which is never fully acted upon. This is for the best, as the two hours and thirty minute run is not enough to introduce to us to the adapted world, the newly fleshed characters, unpack two mysteries and explore a potential romantic layer in the relationship of the titular characters. It already feels overcrowded and at times tiring, especially towards the end where everything is laid out and plot twist after plot twist are revealed.

Holmes, played by Lucy Farrett, is a ball of peculiar energy, has a flair for the dramatic and uses big gestures with intensely comic facial expressions. It’s an interesting interpretation, but it ignores the character’s genius and leans more to high-stakes comedy. Watson, played by Simona Brown, doesn’t seem to diverge from the same level of tension and frustration with everything that’s happening and Holmes’ behaviour. Tendai Humphrey Sitima and Alice Lucy complete the rest of the cast, playing multiple characters; they both gain laughter from the audience, but the multi rolling gets a tad dull in its overplayed boldness.

Under Sean Turner’s direction, this modern adaptation is what I imagine the movie Clue would look like if the actors were trained in Commedia dell’arte. The physical comedy is entertaining, but there are moments where it feels forced and stagnant. It’d be interesting to see some more variation to help the audience keep up and be genuinely surprised by the script.

One of the most exciting aspects of this production is the hyper-realistic set, an intriguing clutter of items, secret entrances and two levels that provide a visual enhancement to the story. Set designer Max Dorey didn’t hold back and the complicated stage configuration could also be a physical representation of Holmes’ idiosyncratic brain and unusual thought processing. Lighting, by David Howe, and sound, by Hattie North, help immensely with the different locations, as well as with highlighting the comedic tone of the narrative.

It’s a funny show that does a fine job in entertaining its audience, without the need to be particularly familiar with the source material. Yet, there is a lot going on, from the witty jokes, the constant moving around and surprises that seem to never end, and you can’t help but feel exhausted by the time the show ends.



MS. HOLMES & MS. WATSON – APT 2B

Arcola Theatre

Reviewed on 1st December 2025

by Stephanie Christodoulidou

Photography by Alex Brenner


 

Previously reviewed at this venue:

THIS LITTLE EARTH | ★★★★ | October 2025
CROCODILE FEVER | ★★★ | October 2025
THE POLTERGEIST | ★★★★★ | September 2025
RODNEY BLACK: WHO CARES? IT’S WORKING | ★★ | September 2025
SENSE AND SENSIBILITY: THE MUSICAL | ★★★★ | August 2025
JANE EYRE | ★★★★★ | August 2025
CLIVE | ★★★ | August 2025
THE RECKONING | ★★★★ | June 2025

 

 

MS. HOLMES

MS. HOLMES

MS. HOLMES

Two for the Seesaw – 2 Stars

seesaw

Two for the Seesaw

Trafalgar Studios

Reviewed – 17th July 2018

★★

“a drama that feels outdated, lacking the high stakes needed to make this two-hander as compelling as it could be”


 

An “intimate character driven comedy-drama” (as described by director Gary Condes), Two For The Seesaw premiered in 1958 and has enjoyed a successful history since then, including a Robert Mitchum and Shirley MacLaine starring film adaptation. Now in the intimate Studio 2 space at Trafalgar Studios, this new staging is painfully faithful to William Gibson’s original script, producing a drama that feels outdated, lacking the high stakes needed to make this two-hander as compelling as it could be.

Jerry (Charles Dorfman), a lawyer from Nebraska, has recently separated from a wife he is financially and emotionally reliant upon and moved to New York. There, he meets aspiring dancer and Bronx girl Gittel (Elsie Bennet). Representing two clashing personalities, the pair seesaw between loving embraces and tempestuous arguments, each keeping secrets from the other until a climactic duel that decides the duo’s fate. The success of this show hinges on powerful and, to use a slightly vague term, truthful performances, which Dorfman and Bennet, though both highly committed to character and given circumstances, fail to provide. We never quite connect with these characters’ drives, or feel what’s at stake, and delivery at times feel one-note, lacklustre and constrained.

The actors aren’t helped by Condes’ direction, who seems intent on making his actors sit and talk over the phone, or sit and talk in person, scene after scene… after scene. Max Dorey’s lovingly naturalistic set design too seems orchestrated to provide areas for actors to rest their tired feet. This prop-heavy design leads to soul-crushingly long blackouts that actually counteract the naturalism and make it harder to reconnect with the setting and situations. Though attractively working to support the story, the set seems to simplify the characters’ differences (Jerry’s apartment is blue! Gittel apartment is pink!) rather than interrogate the play’s themes further.

Revivals work best when we can question older plays from a contemporary point of view, and Condes lets Two For The Seesaw off the hook too easily. For some, some good old fashioned, barbarous exchanges between the sexes and a heartfelt exploration of marriage and power are enough for an entertaining evening of West End theatre. But ‘The Apartment’ this is not.

 

Reviewed by Joseph Prestwich

Photography by James Davidson

 


Two for the Seesaw

Trafalgar Studios until 4th August

 

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