Newcastle-under-Lyme audiences are currently enjoying a decidedly playful take on Sir Arthur Conan Doyle’s classic mystery, The Hound of the Baskervilles, at the New Vic Theatre. But while the production delivers laughs, a question lingers: does this adaptation solve the mystery of how to breathe new life into a well-worn tale, or does it get lost in its own theatricality? This The Hound of the Baskervilles review explores a production that prioritizes comedic effect over the suspense and intrigue that define the original story.
The current staging, directed by Joyce Branagh, isn’t the first to embrace a meta-theatrical approach to the Sherlock Holmes narrative. The production originated with Peepolykus in 2007, and this revival continues the tradition of acknowledging the limitations of staging a sprawling Victorian mystery with a mere four actors. The result is a show that frequently winks at the audience, drawing attention to shaky props, rapid costume changes, and the sheer logistical challenge of representing Dartmoor’s windswept landscapes within the confines of the theatre. This self-awareness, however, doesn’t always translate into compelling storytelling.
A Legacy of Theatrical Playfulness
The impulse to poke fun at the conventions of theatre isn’t new. Victoria Wood’s celebrated television series Acorn Antiques, for example, brilliantly satirized the tropes of daytime soap operas, finding humor in their artificiality. Similarly, the National Theatre of Brent, as noted by The Guardian, gained renown for its ambitious and deliberately absurd two-man adaptations of epic works like Wagner’s Ring Cycle and Handel’s Messiah. The humor in those productions stemmed from the sheer audacity of attempting the impossible.
Missing the Mark: Vacuousness Over Substance
However, this production of The Hound of the Baskervilles falls short of that standard. While the actors – Alyce Liburd, Jerone Marsh-Reid, Alex Phelps, and Tom Richardson – deliver their lines with vigor and charm, their primary focus appears to be extracting laughs rather than embodying the characters and unraveling the mystery at the heart of Conan Doyle’s novel. The play remains largely faithful to the plot of the original story, following Dr. James Mortimer’s plea for Sherlock Holmes’s assistance in investigating the legend of a terrifying hound and a recent death on the desolate Dartmoor. As the original novel details, the Baskerville family has long been plagued by a curse linked to a monstrous hound, and Sir Charles Baskerville’s recent demise has reignited fears.
Yet, the production struggles to convey the genuine sense of peril and suspense that defines the source material. The actors’ commitment to comedic timing often overshadows any attempt to create a believable atmosphere of dread or to explore the psychological complexities of the characters. The result is a performance that feels more like a prolonged sketch than a fully realized theatrical experience. The play, running at the New Vic until March 14th, stretches to two and a half hours, a length that feels excessive given the lack of dramatic weight.
A Faithful Outline, A Hollow Core
Despite the comedic flourishes, the core elements of the story remain intact. Holmes and Watson, as written by Steven Canny and John Nicholson, diligently piece together the clues, mirroring Conan Doyle’s original narrative. The presence of an escaped convict adds another layer of intrigue to the unfolding mystery. However, the actors’ performance doesn’t suggest any deep engagement with the story’s themes of superstition, fear, and the power of deduction. The audience, as The Guardian notes, seems content to treat the performance as a fresh invention, but the underlying lack of purpose remains.
The enduring popularity of Sherlock Holmes, as evidenced by the continued adaptations and revivals of Conan Doyle’s work, speaks to the timeless appeal of the detective genre. Dr. John Watson, Holmes’s loyal companion, first appeared alongside the detective in 1887’s A Study in Scarlet, and has remained a fixture in popular culture ever since, according to Wikipedia. But this production fails to tap into the intellectual and emotional core of the story, instead opting for a superficial layer of humor that ultimately feels unsatisfying.
The question remains: why does this approach resonate with audiences? It’s a mystery worthy of Holmes himself. Perhaps it’s the sheer novelty of seeing a classic tale deconstructed, or perhaps it’s simply a desire for lighthearted entertainment. Whatever the reason, this production of The Hound of the Baskervilles offers a diverting, if ultimately shallow, evening at the theatre.
The production continues at the New Vic, Newcastle-under-Lyme, until March 14th.
If you are experiencing anxiety or distress related to the themes explored in this play, resources are available. You can contact the Samaritans at 116 123 or visit their website at https://www.samaritans.org/.
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