Baskerville: A Sherlock Holmes Mystery

Last night, I had the pleasure of watching a wonderfully inventive production of Baskerville: A Sherlock Holmes Mystery. Sherlock Holmes adaptations always arrive with a certain level of expectation – audiences know the characters, the mystery and the iconic setting, so any new production must find a way to bring something fresh to a familiar story. This production achieves exactly that through a combination of creativity, humour and exceptional ensemble work, led by Director Ruth Cheetham, whose vision of tongue-in-cheek comedy shines throughout the production.

Having recently seen another Sherlock Holmes adaptation, it is difficult not to compare the two. From the moment the performance begins, it is clear that this is not a traditional retelling. The production embraces comedy wholeheartedly, creating a playful atmosphere that never undermines the central mystery. Instead, the humour enhances the experience, drawing the audience into the world of the play and ensuring that there is always something unexpected happening on stage. Cheetham knows exactly when to pull back on the comedy to allow space for dramatic intrigue and mystery.

One of the most impressive aspects of the production is its inventive use of props and staging. A collection of simple suitcases becomes a train and then a horse and carriage; a toy rabbit goes scooting across the stage; every time an actor approaches the coat racks, you know a change is coming. What could easily be a limitation instead becomes one of the show’s greatest strengths. The audience is invited to use its imagination, and the result is both charming and hilarious. Every prop seems to have multiple purposes, creating moments of surprise throughout the evening.

The pace of the production is equally impressive. Scene changes are seamless, with little interruption to the flow of the story. The actors and backstage team, led by Nadine Hall, work together to create a world that transforms before our eyes, complemented by effective use of projection from Joe Roberts. The attention to detail is such that even members of the crew appear in period costume, helping to maintain the atmosphere and ensuring that every element of the production feels like part of the performance.

If I have one niggle, it is the projection of the Hound early in Act 1, which lacks the menace it needs. The use of a puppet, operated by Martin Bell and Thom Jones, in Act 2 more than compensates for its initial appearance, but it remains the one aspect of the production that lingers in my mind for the wrong reasons.

The cast demonstrates extraordinary versatility. With some actors playing multiple roles, rapid costume changes and complete character switches become part of the comedy, which the cast embraces wholeheartedly. Watching Sherlock Holmes (David Lovell) lean into Tosca Cartwright (Liz Kavanagh) to remind her to get changed for her next character is hilarious. At times, performers change characters almost instantaneously, sometimes with nothing more than a hat or a simple prop to signal the transformation. These moments are executed with precision and confidence, generating some of the biggest laughs of the evening.

David Lovell delivers a charismatic performance as Sherlock Holmes. He captures the detective’s intelligence and confidence while also embracing the production’s comic spirit. His portrayal balances authority with playfulness, ensuring that Holmes remains at the centre of the action while never overshadowing the excellent ensemble around him.

Playing Dr Watson, Charles Moss’ frequent engagement with the audience helps create a wonderfully immersive experience. Through direct address and well-timed reactions, Watson becomes our guide through the increasingly chaotic mystery. The fourth-wall-breaking moments are especially effective, making the audience feel as though they are active participants in the investigation.

Liz Kavanagh is a standout performer, moving effortlessly between a variety of characters. Whether portraying a lonely woman on the moors, a cheeky errand boy or a stern housekeeper, she brings energy, clarity and comic timing to every role – even a sobbing baby, which is simply brilliant. Her ability to switch instantly between characters is remarkable and perfectly captures the playful nature of the production.

Emma Bamford also tackles multiple character changes with finesse – I am sure she will not be sad to say goodbye to the black beard. I particularly enjoy her portrayals of the country gent, Stapleton and Dr Mortimer. Like Kavanagh, Bamford barely leaves the stage and absolutely gives her all.

I do not think I will ever forget our first introduction to Robin McFarland (playing Sir Henry Baskerville and others) in this production. Without speaking a single line, he creates one of the biggest laughs of the night – and the fact that it comes so early on sets the tone perfectly. Hats off to him (quite literally) for the moment when two of his characters, with completely different accents and demeanours, appear to converse on stage with only a hat change to signal the transformation. He never mixes up the accents. Fabulous.

What ultimately makes this performance so successful is the obvious joy shared by everyone involved. There is a genuine sense that the cast are having as much fun as the audience. That enthusiasm proves infectious, creating a warm and welcoming atmosphere throughout the evening.

This production of Baskerville: A Sherlock Holmes Mystery demonstrates that great theatre does not rely on elaborate sets or special effects. Instead, it showcases the power of imagination, strong performances and creative storytelling. Clever, fast-paced and consistently funny, it provides an evening of entertainment that leaves the audience smiling long after the final curtain.

Baskerville: A Sherlock Holmes Mystery is playing at The Little Theatre until Saturday 13 June.