Sherlock Holmes: The Hunt for Moriarty

Blackeyed Theatre’s Sherlock Holmes: The Hunt for Moriarty is a dark, atmospheric and genuinely intriguing evening of theatre that understands precisely what audiences want from a Holmes story — danger, deduction and just enough theatrical flair to keep us constantly second-guessing ourselves.

Adapted by director Nick Lane from the work of Sir Arthur Conan Doyle, this touring production stitches together elements of several Holmes tales into one sprawling mystery centred around the great detective’s most infamous adversary. Set against the uneasy backdrop of a crumbling Empire and political corruption, the play feels larger than a traditional whodunnit. This is not cosy crime. Instead, it leans into conspiracy, espionage and moral ambiguity, becoming more of a political thriller. As one line states, “Politics are too important to be left to the politicians” — a sentiment that resonates.

Visually, the production is incredibly striking. Victoria Spearing’s transforming set, with its scorched remains of Baker Street and shifting hidden compartments, creates a world that feels perpetually unstable, while Oliver Welsh’s lighting drenches the stage in shadow and menace. At times, silhouettes stretch ominously across the walls and, combined with Tristan Parkes’ haunting soundscape, the atmosphere becomes cinematic. The digital projection further immerses the audience in the production as we are able to read the letters Holmes and Watson encounter, almost placing us inside their investigation.

What Blackeyed Theatre understands so well is that Sherlock Holmes endures not simply because of the mysteries, but because audiences love being invited into “the game”. This production embraces that wholeheartedly. It asks us to listen carefully, observe closely and delight in every clue scattered along the way.

Mark Knightley delivers a charismatic Sherlock Holmes that feels rooted in Conan Doyle’s original creation — this is a man whose intelligence simmers beneath tightly controlled precision. Knightley gives Holmes an icy sharpness whilst still allowing flickers of vulnerability to emerge, particularly as Moriarty’s influence begins to tighten around him.

Alongside him, Ben Owora’s Watson provides warmth, humanity and a steady emotional centre. Their chemistry is believable, giving the production its heart amidst the labyrinthine plotting. Watson has an easy rapport, particularly when narrating the plot to the audience, effortlessly building trust.

The supporting cast work tirelessly, often switching between multiple roles with remarkable speed and clarity. Pippa Caddick’s Mrs Hudson is an absolute delight — spirited, intelligent and far more involved in the action than audiences may expect. It is worth noting that Caddick plays all of the female roles – quite a feat of endurance. Robbie Capaldi is confident and intriguing as Sir James deWilde, while Eliot Giuralarocca appears to relish every transformation, bringing energy and distinct characterisation to each appearance.

Gavin Molloy, playing, amongst other roles, Professor Moriarty, Inspector Lestrade and Herbert Fennell, is a complete chameleon; he transforms so convincingly that you would almost believe it is three different actors. Everything changes: accent, facial expression, body language, posture, movement — everything. His Moriarty, with a lilting Irish accent, is so compelling that I found myself wishing more stage time had been dedicated to the intellectual duels between himself and Holmes. These scenes are some of the strongest in the production.

If there is one slight drawback, it is that the production occasionally becomes almost too ambitious for its own good. The narrative is densely packed with references, twists and interwoven plot strands, and there are moments where concentration is absolutely essential in order to keep pace. I have to admit to having a wandering mind during Act One, which resulted in me missing a vital plot point. Thankfully, the production team appear to have anticipated this possibility, including a welcome plot flow chart within the programme. Be warned though — there are spoilers.

At nearly three hours including the interval, the play perhaps loses momentum in places, particularly during the first act. However, the payoff in Act Two is worth it, and it is here that the pace really accelerates with much greater physicality. The well-executed fight choreography by Rob Myles and the strobe-lit showdown heighten the tension considerably. By the final confrontation, Holmes and Moriarty deliver an intellectually satisfying climax that crackles with ideological conflict as much as personal rivalry.

For devoted Holmes fans, The Hunt for Moriarty feels like a love letter to Conan Doyle’s world. For newcomers, it offers an atmospheric and thoroughly entertaining night at the theatre. Twisting, stylish and richly theatrical, this is a production that keeps its audience guessing until the very final moment.

In all, it is a worthy addition to the Holmes universe. Just bring your concentration — and perhaps that flowchart.