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Christmas Mysteries: A Sherlock Carol @MaryleboneTHLDN

A mash-up of Charles Dickens's A Christmas Carol and Arthur Conan Doyle's Sherlock Holmes would seem an unlikely pairing. Yet it provides a surprisingly fun Christmas-themed adventure. These two Victorian tales (albeit separated by about 40 years) provide the basis for an inspired adventure at Christmastime that just also happens to turn out to be a murder mystery as well. With lavish costumes, a few spooky set pieces and some good old-fashioned stage trickery with lights and a lot of smoke machines, it is hard to resist. It returns to the Marylebone Theatre for Christmas after a run there last year.  The premise is that after Holmes sees off the criminal mastermind Professor Moriarty, he is left adrift in London. People thought he was dead, and he might as well be. Disinterested in the misdeeds of other Londoners, Holmes has even given up on his friend Dr Watson. It's almost as if he has become a Scrooge. Or half a Scrooge, moping about shouting, "bah" in respon

Dead man dance real good: Here Lies Henry

Here Lies Henry which concludes its brief run at the Camden People's Theatre on Saturday, reinforces all the stereotypes that gay men who live near Finsbury Park are just bad news, but they sure can dance.

We are introduced to Henry (played by Matthew Hyde) who appears in a dazzling bright light. He is a bit on edge, he is twitchy and he has a spare room for rent in Finsbury Park. And there is a body in the room. Or is there?

Henry is in his thirties and is a compulsive liar, optimist, potential drug addict and mildly romantic guy trying to make sense of his life. 
The audience is left to piece together a series of flippant (and no so flippant) statements over the course of 70 minute monologue. It's called an experimental piece but what is more striking about it is the way Henry just talks to the audience, as though he has just been out for the last three days. It is as if you are trying to listen to someone in Vauxhall Tuesday morning who hasn't been home since Friday explaining what they have been doing.

Audience engagement may be critical, but at the performance I saw some fell asleep. Even the best actors are going to have a tough time trying to get a response from someone with the mouth half open  and eyes shut. And if those around you are nodding off, you are not going to feel the urge to laugh.

But perhaps the material is showing its age. Written in the 1990s, the piece takes you back to a period when bitchy quips were the norm, but if you are not familiar with the party scene, the high drama and the occasional violence you may find it all a foreign strange world. There is a murder, some lies and Henry, but apart from being a terrific dancer, he isn't much of an interesting character. And no amount of slick lighting effects, clever projections and a strong central performance can hide that.

Daniel MacIvor's play reportedly has developed a cult following but even staying wide awake throughout I cannot say why. Perhaps you need an audience that hasn't seen it all before to appreciate it.

The references to a body in a flat in Finsbury Park had me recalling a visit many years ago to a prospective flat share in a basement property. The interior design consisted of pink lighting and cast off advertisements from Chanel perfume. While the piece probably merely intends to evoke hell in north London, I felt like I had been there... 


Photo credit: production photo. There is no actual nudity in the play although potential soul baring. 

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