The play opens in the drawing room of 222b Baker St, where Sherlock Holmes (Chris McKenzie) and Dr Watson (Heath McKenzie) are discussing cases. Chris and Heath are the only two with only one part each to play, and they play them magnificently, looking relaxed and at home on stage.
The stage is big, with an extended apron but few props and stage furniture, giving the players room and giving space for the backstage crew to move things on and off while scenes are played in another part of the stage. What furniture there is, is beautifully made and perfect for purpose.
The other actors all play multiple parts, requiring swift costume and character changes, which do or do not go according to plan.
There’s Sandi Black, who plays all 11 female roles and a Cockney boy called Cartwright. She is a wonder to watch and a joy to behold. She hams it up with the best of them and overacts beautifully when required. She is very funny.
There is another of the McKenzie family, Zach, who plays six roles, imbued with a stage presence hard to hide. His Texas drawl is delightful, as are his other voices and characters.
The aforementioned Mike Street has played many roles in his time, and in this play he adds five more, including a woman character, Lucy. To see him enjoying this farce, and us enjoying it and him along with him, is an absolute pleasure.
Then there’s Jimmy Sutcliffe. We last saw him at Repertory in The Lady in the Van. He was good then and, playing 10 roles in Baskerville, very good now. With Jimmy, Mike, Zach, Sandi, Heath and Chris, the play is as good as it gets and the casting is spot on. Everybody excels in their roles and plays them for all the laughs they can get — lots and lots.
But they aren’t the only players.
Below the apron, on the left from the audience’s perspective, is Brent Holt, pianist extraordinaire. Like the piano player at a silent movie, he sets the scene with his airs and punctuated dramatic moments with cliched chords. He is brilliant! Never at a loss for a note, he is an essential part of the play ... as is Jacqui McKenzie on the other side of the apron, below the stage, where she churns out sound effects and bloodcurdling screams, howls and the occasional prompt when called for ... or not. Nothing is recorded - all FX are mechanical or vocal and her way out-of-sync gunshots are hilarious!
Both Brent and Jacqui can be counted as performers, and very good ones.
Even the backstage crew have their moments in the spotlight, adding an unexpected dimension to the show and supplying a few more laughs.
And Brian Kenny’s lighting changes add real atmosphere.
When the cast, script and everyone else come together, they produce a very funny play. I hurt from laughing. Apparently, no two shows are exactly the same and the ad-libbing changes each night.
You really must see this play: it will make you feel good. Yes, you will be impressed by the talent on and around the stage, you will wonder how anyone can remember all those lines, let alone deliver them with apparent ease and spontaneity, but you will have a good time and lots of real belly laughs. From a subtle reference to a German film about a submarine to out-and-out verbal and physical slapstick, you will enjoy pretty much every moment the light is on the stage. And look out for mistakes, scripted and unintentional.
And yes, Mary Dack, the platters are delicious! Well done to those who made up the array of salami, ham, bread and crackers, dips, pickled onions, olives, pickles, cheeses (I loved the blue cheese!), sundried tomatoes and more. A real treat — make sure you order one between the two of you.
Marie and I saw Baskerville on Saturday night with an equally appreciative crowd. And when the cast emerged after the play and mingled in the auditorium, the handshakes and compliments were testament to a job well done.
