REVIEW: Holmes and Watson - Centenary Theatre Group

Centenary Theatre Group – Directed by Gary Kliger

Sir Arthur Conan Doyle caused quite the stir when he attempted to kill off the Sherlock Holmes character. This play, Holmes and Watson, dives into the murky aftermath of that decision. Holmes is “dead”… supposedly… and three men have appeared, all claiming to be the legendary detective. Dr John Watson is summoned to a remote asylum on Starkhaven Island to determine which of them, if any, is the real Holmes. From there, things spiral into a tangled psychological puzzle. This is absolutely a show that thrives on secrets, so I will tread very lightly on spoilers.

Justin Ryan nails the role of Watson, the proper British chap with a stiff upper lip and expressive stage presence. He moves through the space with confidence, grounding the increasingly bizarre circumstances around him. His back-and-forth intellectual dance with Andrew Wallace as Dr Evans is one of the standout elements of the show. Andrew’s precise accent, articulate delivery, and slightly slippery demeanour make him a believable authority figure, but also someone I never fully trust.

The trio of Holmes wannabes each offer something distinct. Brad Oliver as Holmes #1 is sure of himself, instantly complicating my early assumptions. Steven Eggington as Holmes #2 is a standout, strapped into a straitjacket yet commanding the room with frightening intensity, classy diction, and eyes flickering between brilliance and madness. Steve Tonks, as the catatonic Holmes #3, arguably has the toughest job, doing almost nothing while still maintaining presence.

Luke Voyer as Moriarty appears throughout dressed like a true villain, complete with maniacal laugh. He is a promising performer and shines in his moment with Holmes #3. Erik de Wit is a loveable surprise as the mute orderly, goofy, expressive, and funny without speaking a single line. Michelle Malwkin brings grounded realism to the Matron, while Martin Navin-Sanders appears briefly with a great cockney turn as the Inspector during flashbacks.

As the mystery deepens, information is held back from Watson, and from us, creating a satisfying stalemate that keeps the audience guessing. Nothing is as it seems and nobody is who they claim to be. The crowd reacts with those collective gasps you hope for in a classic whodunnit. The staging is straightforward, using a table, a few chairs, projected images and videos, and sharp, occasionally harsh sound cues that jolt the atmosphere. The final reveal is fun, clever, and lands well, although I am still not convinced about the music choice being 2001 A Space Odyssey? And to the real Holmes, you know who you are, when the reveal hits, do not cling to your coat. Step into that spotlight, you have earned it!

At around an hour and a half with an interval, it is a neat little evening of intrigue and mind games, pulled together with steady, thoughtful direction from Gary Kliger, who guides the ensemble through the twists, secrets, and shifting alliances of a mystery like this with care.