Review of ‘A Sherlock Carol’: “Elementary, that’s what’s on”

Charles Dickens marries Arthur Conan Doyle in their literary canon through this fantasy-crime play returning to the Marylebone Theatre for the holiday season. Guillermo Nazara shares his views on the show, to let us know if this retelling of the Christmas classic verging on the valley of fear is worth any great expectations.

It is no mystery why reviving Arthur Conan Doyle’s notorious character on a stage located only a few blocks away from his even more notorious address should trigger some sort of cathartic experience for anyone present at such chimerical theatrical seance. As we witness the reembodiment of allegedly the shrewdest, most rational detective literature has ever given birth to, Doyle’s esoteric inclinations seem to be twice obliged with the return of Mr. 221B Baker Street’s unofficial sequel.

A Sherlock Carol leaves no opportunity for confusion. It is, in every sense of the word, a fair mixture of the popular character Doyle loved to hate, and Dicken’s timeless holiday tale about the virtues of kindness and generosity. There is also space for duplication too, though: a spectral Scrooge takes the role of his former associate, only that this time, he did have the chance to amend his errors before departing. His other personification is as stubborn and misanthropic as his predecessor – the difference, though, is that his greed lies on the intellectual side.

Written and directed by Mark Shanahan, the play succeeds at delivering an engaging narrative supported by the best of the two worlds it aims to put together. On the one hand, we have the always seductive appeal of a whodunit. On the other, the pathos and introspective bewilderment of Dicken’s moralistic comment. In tandem, both work rather well – concocting an engaging recount that merges the allure of murder and fantasy fiction, blending their strengths with sufficient prowess, and eventually leading to a fairly enjoyable journey that, though perhaps not the most touching version of its allegorical angle, is nonetheless highly entertaining.

Featuring a scenic design by Anna Louizos, the production values are genuinely impressive for a reduced montage like this one. It does feel, to some extent, more fatuous than it actually is – the obvious result of a cleverly executed staging; which, despite its limited use of props and set changes, is nonetheless capable of building an intricate atmosphere with some robust visual power. In addition, Holly Ellis’s lighting, evoking the plot’s Victorian flavour through its subtle allusions to a gaslit vaudevillian act, finalises the illusion by bringing further robustness to the show’s ambiance.

As for the cast, the company displays a decent level of rapport and flair in their renditions, despite some of their portrayals still feeling slightly corseted and unexplored in some aspects. Alternate Henry Proffit is probably the most notable example of this problem through his approach to the title role. Perhaps intentionally, but sadly not too satisfying, his depiction of the character does an excellent job at drawing out the solitary traits that make Sherlock so insanely popular, but fails to convey the same degree of charisma and magnetism to accomplish his whole essence.

There are, however, solid facets to praise in other performances – those stemming, especially, from Richard James as both Dr. Watson and the other supporting personages he so beautifully plays; giving so much soul and enchantment to every one of them, as well as flaunting superb skills to transform himself into complete opposites with masterful ease.

Adding an extra piece of charm and amusement to Doyle’s puzzling style, A Sherlock Carol puts a magnifying glass on the arresting factors that made both stories and characters so terrifically gripping – allowing itself to indulge in its own inventiveness without betraying the allure and spirit of the original, and effectively compelling its target audience. Yet, there’s a wowing element missing that prevents the final product from fully landing – taking us on a pleasant ride, but not truly transporting us with the same mesmerism of its timeless precursors. It’s a nice accomplishment for whoever dunnit, but it’s still a few clues away from carrying out the perfect crime.

All pictures credit to Steve Gregson.

A Sherlock Carol plays at London’s Marylebone Theatre until 5 January. Tickets are available on the following link.

By Guillermo Nazara