15 November – 1 December
Red Rope theatre company return to the Anglican Chapel at Arnos Vale Cemetery with their twelfth production. Walking along the gravel path to the chapel on a dark November evening the thin slivers of moonlight hitting the huge monolithic gravestones send long shadows stretching across the path. Although we are heading towards a warm glow in the distance, it’s enough to make the approaching audience shiver with apprehension and dread. And what is that strange sound coming from within the building? Is it a man’s scream, the boom of a bittern, or the howl of a wild dog?
Sir Arthur Conan-Doyle’s greatest creation, Sherlock Holmes, is recreated in his best-known story The Hound of the Baskervilles, adapted by Matt Grinter and directed by Roisin McCay-Hines. The setting is ideal with the altar transformed into the cosy study in 221B Baker Street, and despite the limited space, the well-placed lighting and suggestive props effectively create the desired effect. Opening narration behind both banks of audiences further conjures up the gothic horror in store, while excellent use of music by Oliver Thomas completes the atmosphere.
The cast of four effortlessly and flawlessly conjure up a host of characters in an entirely faithful version played straight, albeit with humorous nods to some of the brilliant Holmes’ eccentricities.
Patrick McAndrew, a recent Bristol Old Vic Theatre School graduate in his professional debut, is perfectly cast as Dr Watson. He is a little humourless, a trifle bland, forever thoughtful and the perfect foil for Holmes.
Rebecca Robson and Dannan McAleer both excel in performing multiple roles, most memorably with the former as Beryl Stapleton a wild-eyed siren conveying terror at what lies on both the moor and in the beast within all men. McAleer has an impressive array of accents, creating both the American Sir Henry Baskerville and the loyal Devonian wrinkled retainer, Barrymore.
Holmes is expertly captured by Elliott Chapman, channelling his Jeremy Brett-like version of the great detective with elan and sufficient unconventionality. His expansive gestures, moodiness and genius are always a pleasure. The authenticity of the story is maintained throughout with an initial introduction to Sherlock’s method of deduction portrayed in an enjoyably flamboyant, boisterous manner to the befuddlement of his sidekick Watson.
Soundscape comes to the fore when the story moves to Baskerville Hall in the heart of the forbidding Dartmoor, the scene of Sir Charles’ horrible death. The booming of the bittern, the sucking of the Grimpen Mire and the sobbing of long-lost murdered Kate spook the audience just enough, but not so much as to render the show inaccessible to those of a more timid disposition. Lighting changes are engineered with panache and the expert use of space and costume changes are universally well executed.
The show is testament to the skill of the performers and creatives behind it, and highly recommended to anyone who wants to be spooked in a thoroughly agreeable way.
★★★★☆ Bryan J Mason, 16 November 2023
Photo credit: Craig Fuller
