(back, l-r) Kate Hansen, Bryan Vickery, Jordan Barnes and Chris Morrison with (front, l-r) April Krijger and Rhiannon McGrane are well matched in talent on stage. Photo / supplied
(back, l-r) Kate Hansen, Bryan Vickery, Jordan Barnes and Chris Morrison with (front, l-r) April Krijger and Rhiannon McGrane are well matched in talent on stage. Photo / supplied
Review:
Sherlock Holmes, Vincent van Gogh and Oscar Wilde. Three geniuses in one play. Although, Mr Holmes would point out there is “nothing more deceptive than an obvious fact” and that is certainly the case at New Plymouth Repertory.
The obvious fact is that New Plymouth Rep’s current play, Sherlock Holmes and the Adventure of the Elusive Ear, features a talented trio - Holmes, Van Gogh and Wilde - but in actual fact, there is a talented sextet bringing some absolute comedic genius to life.
It is the New Zealand premiere of this play and the cast and crew have set the bar incredibly high for any future productions of what is, undoubtedly, a brilliant script by David MacGregor. The premise is relatively simple, the well-known detective Sherlock Holmes and his ever-present sidekick, Dr Watson, are in need of funds. As Watson (Chris Morrison) points out to Holmes (Bryan Vickery) and his paramour Irene Adler (April Krijger), the last few cases brought in no money, nor did they result in anything Watson could write about to earn some much-needed cash.
As if on cue, a visitor arrives - the as-yet-undiscovered genius artist Vincent van Gogh (Jordan Barnes) - with an unusual case for Holmes to solve. His arrival is followed by Marie Chartier (Rhiannon McGrane) after which Watson brings in a friend to help - the ever-charming, ever-witty Oscar Wilde (Kate Hansen).
Director John Lawson chose a great script and a great cast to work with. From the first moments of the play, the wit and quick dialogue of the script became funnier and faster in the hands of Chris Morrison and Bryan Vickery. The duo are well matched on stage with Chris giving Watson a genial yet flustered persona, the perfect foil to Bryan’s eloquent and condescending Holmes. Add to that April Krijger’s sultry yet nuanced depiction of Irene Adler and the first scene hits all the right notes.
April’s role requires her to switch from an American accent to a Cockney one and in her Cockney moments, she is at her Mae West - best, voice-wise. Accent aside, she delivers some fantastic lines, not just the quick-witted repartee with Holmes, Watson et al. but also some great feminist retorts that April ensures hit the mark perfectly.
Bryan is a consummate performer and he is well suited to the part of Sherlock. He gives the famous detective plenty of depth, with a calm aloofness when talking to Watson nicely contrasted with his addiction to both cocaine and his beloved Irene. Bryan effortlessly switches between the distant detective and the flirtatious and easily distracted lover parts of his character’s personality, making him a far more likeable character in the process.
As Watson, the archetypal British gentleman, Chris is well cast and his moustache is groomed to perfection. His Watson is likeable and blustery and Chris’ mannerisms are faultless as he reacts to the chaos around him as the play progresses.
As the lovesick and hapless Vincent van Gogh, Jordan Barnes brings fantastic energy to the stage. His accent and mannerisms are faultless and he is completely convincing in the role. Just as it took art lovers a long time to discover Van Gogh so one is left wondering why it took Jordan so long to turn to acting - he is a natural talent who belongs on the stage.
Rhiannon McGrane (left) and April Krijger are well-matched on stage. Photo / supplied
Rhiannon McGrane’s mysterious Frenchwoman, Marie Chartier, is great fun to watch and even more fun to listen to with her French accent the perfect balance of caricature and realism. She has plenty of on-stage energy and she and April practically dance across the stage in their sword-fighting scene. The two actors are well-matched and play off each other perfectly, both in stage fighting and dialogue.
Kate Hansen’s Oscar Wilde is the last actor to enter the scene and it’s a case of saving the best for last. She is the perfect choice to play the famously effeminate Oscar Wilde, with it feeling as though the role was written for her at times. She delivers her lines with sly grins at the audience, combined with perfectly raised eyebrows and precise mannerisms that take her flamboyant character to the next level.
Belinda Hunt has done a great job with the costumes, with Wilde and the two female characters on stage perfectly dressed at all times. She puts Holmes in night clothes for the early scenes, giving the character a more relaxed attitude than you might expect, but it works well, making the audience feel as though we are privy to seeing the real Holmes, not just the man in the stories.
The set and properties teams have done a magnificent job. While the play is set entirely in one location - Holmes’ private rooms - they have dressed it perfectly and as the curtain lifts the audience is completely transported to a Victorian England London home. Their set dressing starts long before the curtain lifts, however, with the foyer of the theatre also nicely dressed with appropriate props.
Lighting and sound also rise to the challenge nicely. The music playing before the curtain lifts at the start of the play as well as the second act is a nice touch, helping settle the audience into the era depicted.
This play was a good choice in the first instance but thanks to John Lawson’s thoughtful and intelligent direction, combined with a talented cast and equally clever backstage team, this production is far more than elementary and is not to be missed.
The details:
What: Sherlock Holmes and the Adventure of the Elusive Ear
