Expect anything and everything to happen as things go bump in the night in this version of The Hound of the Baskervilles.
A striking lass, peculiar locals, a mustachioed stranger, a hobby horse, a stubborn stagehand, wacky beards and hefty accents are all part of this treacherous journey through the moor in Central Square Theater’s spooky and madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson continuing live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6. Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission. Click here for more information and for tickets.
The Hound of the Baskervilles is no stranger to adaptations. Based on Sir Arthur Conan Doyle’s 1903 classic Sherlock Holmes crime novel, The Hound of the Baskervilles has been adapted into dozen of films and TV shows including a 1978 British parody film starring Peter Cook and Dudley Moore. The actual tale is a chilling and puzzling foray into a mysterious crime and is considered one of Doyle’s best novels.
Haunting, comical and spontaneous is this mystery spoof that mixes the classic with the contemporary while still loosely sharing Doyle’s legendary tale as it veers into several comedic detours along the way.
A full moon, distant howling and a single illuminated ghost light kick off the foreboding and eerie demeanor of Central Square Theater’s Hound of the Baskervilles as David Bryan Jackson’s dynamic sound design along with John R. Malinowski’s spooky lighting navigate the haunting, humorous, and spontaneous elements of this swiftly shifting production that is not limited to the stage.
While generally not a big fan of spoofs, this self aware trio takes improvisation, physical humor, and even miming to new heights led by the ever impressive Aimee Doherty as herself, Holmes and others, especially during a zany expedition through Act II. It is at times mind boggling to think how this jocular trio manages to keep track of which comedic detour they are addressing from moment to moment (never mind the accents!) changing identities, and what is real and what is all in disguise, but it seems all in good fun with a considerable dose of goofy silliness.
Costume designer Leslie Held delivers Sherlock sleuthing at its Edwardian finest complete with Harris Tweed deerstalker caps, wool gray and mustard colored coats, paisley ties, and top hats mixed with some surprisingly whimsical selections as well. The production also swings from vintage into the contemporary in remarkable self aware fashion. Spoofing deductions about deducing is Doherty as Holmes who must solve the mysterious death of Sir Charles Baskerville. Did he die of a heart attack or were there darker forces at work? Doherty’s comic timing is particularly sharp during a train sequence in which Doherty portrays a repetitive train conductor. Jenny S. Lee is more than game as admiring and a bit dim Watson, Sherlock’s sidekick. It is amusing to watch Doherty playfully tease Lee as Watson from time to time as they both attempt to solve this ‘jigsaw’ puzzle of a case. Lee is a fun sidekick, has engaging chemistry with Doherty, and stands as a firm Robin to Sherlock’s Batman.
Sarah Morin more than has her work cut out for her as not only Canadian Sir Henry Baskerville, but all in the family line not including the zany characters that Doherty and Lee meet along the way. Trying to unravel this mystery and keep up with all the split second dress changes is a feat in itself.
However, the greatest feat of all might be how the show manages to remain on course. After all, The Hound of the Baskervilles is essentially a murder mystery and Holmes and Watson have a crime to solve.
Central Square Theater’s presents spooky madcap spoof, The Hound of the Baskervilles by Steven Canny and John Nicholson live and in person at Central Square Theater in Cambridge, Massachusetts through Sunday, October 6. Wildly directed by Lee Mikeska Gardner and very loosely based on Doyle’s legendary tale, this zany and semi-interactive production runs two hours and 15 minutes including an intermission. Click here for more information and for tickets.