“The Secret of Sherlock Holmes”

Shakespeare & Company, Lenox
Through October 28
By Shera Cohen

Just when you think you couldn’t possibly see another Sherlock Holmes play, movie, book, or PBS special, along comes Shakes & Co.’s current production of “The Secret of Sherlock Holmes.” Is it worth seeing this dark, brilliant, and tortured detective along with this faithful friend Watson again? Yes!

This look at Holmes is different from the norm, which makes it especially enjoyable. The play could easily be subtitled “Holmes & Watson,” as both men receive equal stage time. To date, Holmes’ mysteries have always included his sidekick Dr. Watson. But, did anyone ever think how Watson became Holmes’ friend, confidant, and housemate? Playwright Jeremy Paul did, and with the assistance of director Robert Walsh, they have created a relationship play about two men who we thought we knew so well – but perhaps not.

Michael Hammond (Holmes) and Dave Demke (Watson) are each Shakes & Co. “regulars.” Both are adroit at spouting Shakespeare’s language, or that of Wharton or Hawthorne. Paul’s crisply written script, which says much with few words, requires a talented duo to create the relationship between Holmes and Watson. These actors are up to the task, becoming their characters. This is the first Holmes’ story in which the audience learns about who Watson is, how he came to live on Baker Street, and why he stayed.

Often dark in mood (Holmes’ cocaine addition is important to the play), there is room for much humor, oftentimes very dry. The balance is well paced particularly in Act I. Walsh’s direction of Act II needs a couple of jumpstarts to move it along and it seems that the actors will succeed at doing this in upcoming performances.

The set is as perfect as anyone can imagine Holmes’ environment would be, literally ripped out of the pages of a London story. The play opens with a shadow of Holmes growing to 20 feet or so, then subsiding. This occurs again later on, both to the accompaniment of classical violin music.

Shakes & Co. has given its audiences a wonderful summer. Now enjoy the fall in Lenox with a trip back in time to London, mystery, the powers of deduction.

A Quick Glance at Summer at Shakespeare & Company

Lenox
through 9/2
By Shera Cohen

During its 30th anniversary year, Shakespeare & Company never waivers in its excellence in presenting the best in the Berkshires. Especially amazing is the fact that the same actors perform in two plays each (oftentimes on the same day, two in English and two in 16th century English), not to mention their "day jobs" in managerial capacities. Do any of the actors/employees get much sleep? Perhaps not, as they run the summer series from May through September.

The seldom staged "Antony and Cleopatra" was a tour-de-force for actors Tina Packer and Nigel Gore and director Michael Hammond. This tragic and fabled love story amid years of war made for a dramatically balanced play. Having the opportunity to sit in on a rehearsal offered this reviewer a keen look at the challenges faced by actors and crew.

The Bard's often staged "A Midsummer Night's Dream" was the other selection on the roster, and as different from "A & C" as night and day. How these same actors keep their lines straight and never mix the language of the two plays is sheer professionalism. "Dream" is a romp in the forest, literally, with lots of fun had by all, including the audience.

Tom Stoppard's "Rough Crossing" could also be dubbed a romp -- this time onboard ship in the 1930s. Dialogue connecting one player's words with another's was a common humorous thread -- what had meaning for the first player had a second meaning for the other. This was a leave-your-brain-at-home experience.

Shakes & Co.'s Bankside Festival is always free of charge and equally delightful. It includes lectures, mini-pre-shows, dances, and one fully-staged comedy all performed by the student acting troupe. Moliere's "Scapin" took the tent stage. Fitting the usual Moliere formula, this was one of his funniest and less political plays. Full of slap-stick, malaprops, whimsy, mistaken identities, and chase scenes, "Scapin" had it all -- for all ages.

Note: Catch Shakes & Co.'s bonus play, "Sherlock Holmes," in late September/early October.

"Blue/Orange"

Shakespeare & Company, Lenox
Through September 2, 2007
By Donna Bailey-Thompson

Those who determine the summer’s schedule have done it again: they’ve included a gem that is both provocative and entertaining, and then had the audacity to assign a sensitive director (Timothy Douglas) and cast three stellar actors who, seemingly, become the characters. And the other good news is that "Blue/Orange"is playing through September 2.

Presented in the 3/4 round, this engrossing drama takes place within a London psychiatric hospital where a young man, Christopher (LeRoy McClain) prior to his scheduled release the following day is interviewed by his psychiatrist Bruce (Jason Asprey) and the facility’s senior psychiatrist Robert (Malcolm Ingram). Chris is happy, ebullient, "I’m going home!" He springs about the room on the balls of his feet. Bruce sets out to demonstrate that Chris, diagnosed as having borderline personality disorder, is not well enough to be discharged. Robert has a different opinion. What begins as an academic disagreement becomes loaded with personal agenda witnessed, in large part, by the patient who misinterprets what he mis-hears. The younger doctor pushes for a schizophrenia diagnosis and lobbies for treating Chris as an inpatient whereas the older doctor favors sending Chris home "while he still knows what home is" before he becomes more comfortable living within an institution than on the outside. He quotes Allen Ginsberg: "Human is not a noun. It’s a verb."

Strategically placed situational humor provide brief tension breaks within playwright Joe Penhall’s tight script’s dedication to emotionally-loaded issues–-imperfect health professionals within an imperfect health care system trying to bring psychically-damaged patients to a mental health level where they are neither a threat to others nor to themselves. Further complicating this effort are moral and ethical questions that swirl about the effects of race on both medical judgments and patients’ interpretations.

"Blue/Orange" is not a simple entree: it is a theatrical banquet.