If recent cinematic and staged endeavors are any indication, our world has gone Sherlock crazy, and with two good reasons: One, our collective psyche craves the closure and satisfaction of something- anything- being solved and finished (especially in the latter half of 2016). And two, Sherlock lore is compelling and cool as heck.
Whichever your driving reasons, Lifeline Theatre’s Miss Holmes will more than satisfy both of those criteria. Their new production crackles with brilliant one-liners and intriguing characters, and is an exceptionally fun way to spend an evening. Written by company member Christopher M. Walsh and directed by company member Paul S. Holmquist, it’s no surprise that they hit the nail on the head with this particular tale; Lifeline excels at making classic stories relevant, and when they can spotlight female-driven narratives, all the better.
Photo credit: Suzanne Plunkett
This chapter of the Sherlock saga opens in London, 1881. (Ashley Ann Woods’ delightful set offers up a haunting, gaslit Baker Street and more Sherlock Holmes ephemera than you can shake a deerstalker cap at.) We first meet Holmes in a sticky situation and, as it’s ultimately decided, needing a companion/voice of reason. Enter Dr. Watson, a gifted physician languishing in a male-dominated profession and wondering how- or if- she can make a difference for women. The two find their way, not only as tentative partners, but also as detectives who navigate a brutal and tragic string of murders. Their prime suspect? Thomas Chapman, who just so happens to be a colleague (and decidedly not friend) of Inspector Lestrade, a pillar of the law whom Sherlock has always made it a mission to befriend, question, and ally herself with. (The game’s afoot!)
Worried that the gender-swapping is a gimmicky ploy? It isn’t, not in the slightest. In fact, the parallels between the world in which Sherlock lives and those of women in present-day society are staggering. So then, what better representation of Sherlock than as woman; intuitive, largely ignored by those in power, and exceptionally protected from herself (regardless if she needs it or not)? The theme of equality (or a decided lack thereof) can be encapsulated by one powerful line where Holmes addresses Watson’s concerns over the safety of their next move. “Tell me truthfully, when’s the last time you felt safe?” Asked in 1887 or 2016, it packs a staggering relevance.
The cast is terrific. In a move that highlights the privileges that men naturally and automatically enjoy, it’s made quite clear that the females are the protagonists here, and the male characters act as their foils- many with multiple roles. Christopher W. Jones is great as the frustrated Lestrade, appropriately wary of Holmes’ quest, and his Scotland Yard counterpart Thomas Chapman (John Henry Roberts) is quietly and effectively menacing without having to raise so much as a finger. The casting of Chris Hainsworth as Mycroft Holmes was pitch perfect, and so was his portrayal of a world-weary (and world dominating) older brother- without any of the sappy and sentimental stuff. But if I had to pick the standouts in this talented group, it would have to be the duo of Watson and Holmes. Mandy Walsh’s Dr. Dorothy Watson is a timeless, compassionate heroine- with just enough patience to keep up with the dynamic and exhausting Holmes. For her part, Katie McLean Hainsworth brings an intellectual eccentricity to Sherlock that the audience will easily recognize, but a quirkiness that’s all her own- and which transcends gender.
This wonderful romp of a mystery is fast-paced and will keep you guessing. Without giving anything away, I will say this much: the ending is incredibly satisfying and earns Miss Holmes a respected spot in the Sherlock Holmes canon.
But with two women as the driving force of this play, why would you expect anything less?
*****
If you go:
Runs through November 27th, 2016
at Lifeline Theatre, 6912 N. Glenwood Ave., Chicago
www.lifelinetheatre.com
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