DIE PRESSE
Fast-paced buffoonery with Sherlock Holmes
Philip Dart relies both on subtle irony and boisterous gags in his dramatization of Arthur Conan Doyle’s novel “The Sign of the Four” in Vienna’s English Theatre.
There are dozens of film adaptations of the novels and stories written by Arthur Conan Doyle about the unlikely duo Sherlock Holmes and Dr. Watson. The protagonist is a detective with a razor-sharp mind, a master of deduction in solving crimes. His admiring and always concerned friend usually also acts as the narrator. Anyone who adapts these adventures for the stage needs intelligence and courage. Aren’t we over-familiar with these stories that are more than a hundred years old from the movie screen and TV? Might they also have gone slightly out of fashion?
When it comes to Philip Dart, this concern is unfounded. Two years ago he boldly directed Ken Ludwig’s “Baskerville,” the stage version of the novel “The Hound of the Baskervilles,” in Vienna. Now he follows up with his own adaptation of “The Sign of the Four” at Vienna’s English Theatre. He is successful again, probably because he relies both on subtle irony and boisterous gags. His five-member ensemble performs more than four dozen roles and offers best English original version theatre with topnotch physicality. Ken Harrison’s set design favours quick scene changes with few props. Almost two and a half hours (including an interval) fly by.
(…) So off to London to 221b Baker Street! Holmes (Thomas Wingfield) is currently indulging in his drug addiction and in playing the violin. Anthony Glennon as Braithwaite quickly becomes Watson, who gets to know and love his future wife in this novel - first with uptight British coolness, then even with a little passion. Christina Baston plays Mary Morstan, who seeks Holmes’ help, with charm and appropriate respectability. She is guaranteed a few laughs in more comic, smaller roles.
Holmes is also allowed to trigger some laughs in this adaptation, because Wingfield, as his character in the framework story, immediately makes it clear that the master detective should always be the main focus of the story. Well combined: Jason Earl is a bit of a show-off who has to be pulled back a few times. Stepping out of character is part of the show and is way more cheerful than some of the complex contemporary post-dramatic effects of breaking down the fourth wall. Uninhibited comedy is planned for two actors in the ensemble: Dominic Brewer always creates infectious cheerfulness in rapidly changing double roles. And Michael Stafford Wells turns officers, detective inspectors, older women and other Cockney originals into victims of ridicule. He is at his best as a sniffer dog that adores Holmes.
Chases, climbing tours and busy street life scenes are all staged with simple means. What more do you need than a bench, three actors teetering boldly, hoofbeats and neighing to simulate a carriage ride? A finale on the Thames? Bring on the model ships and the steering wheels! And if the dog gets lost looking for the perpetrators? Then you simply let the scene run backwards as you walk through London’s wild south, like rewinding a film.
The twenty scenes are all played at a fast pace. Sound effects and music, borrowing from Brahms or Shostakovich, are reminiscent of a golden era of cinema. You feel like you’ve been transported back to the good old days. And in the end, there is even a very “elementary” wedding! Who knows whether Sherlock Holmes was counting on the obvious here and ruling out the impossible.
Norbert Mayer
ONLINE MERKER
More merriment than plot
He is one of the world’s most famous detectives and has undergone many transformations from the original novels to the recent modernist television adaptations starring Benedict Cumberbatch. You can do a lot with Sherlock Holmes, and Vienna’s English Theatre successfully staged his famous story of “The Hound of the Baskervilles” two years ago. At that time the author was Ken Ludwig, a veteran playwriter (“Lend Me a Tenor”) who developed a concept of slapstick nonsense performed by a few actors in many roles that was extremely popular. Philip Dart was directing it at the time and obviously thought he could do it himself: No question, he can. (…)
So, what happens might not be particularly clear, but it’s always hysterical. The show doesn’t rely on the plot, but on theatre craft, which Philip Dart once again brings to an enjoyable climax.
The evening features five performers, Sherlock Holmes and his indispensable Dr. Watson, as well as three other actors, who take on all remaining roles with masterful transformations; not only using costumes and wigs (the change often takes place in what feels like a matter of seconds), but also language and physicality. There is a lot of slapstick, and in between, attempts are made to let Mr. Holmes’ brilliant brain work...
Alongside Thomas Wingfield’s lanky Holmes, Anthony Glennon’s droll Dr Watson is particularly endearing (and incidentally has the most accurate diction of the evening). Christina Baston shows that she can not only be a fine lady, but also play delicious old hags when necessary. And Michael Stafford Wells and Dominic Brewer play one eccentric character after another, including a dog if required…
In the end, you may not be able to fully grasp the plot of “The Sign of Four”, but you do know that a show that delivers so much and is so sure-footed will find a delighted audience.
Renate Wagner
SECRET VIENNA
A Night Out with Sherlock Holmes in Vienna
After enjoying Baskerville at Vienna’s English Theatre, we couldn’t wait to return for another Sherlock Holmes mystery. Attending the premiere of The Sign of the Four was a real treat, and our expectations were high. Vienna’s English Theatre, well known for its engaging and simply fantastic performances, offered the perfect setting to experience this thrilling adaptation.
A Classic Story Brought to Life
This production of The Sign of the Four, adapted by Philip Dart, delivers all the classic elements of a Holmes story with a lively twist. The play combines traditional detective work with humor, suspense, and an array of unique characters. Watching the talented cast switch between roles added to the fun, and the story kept us hooked from start to finish. It’s a mystery with plenty of laughs, and we couldn’t look away.
What We Loved About the Show
The stage was used so creatively that it felt like the actors brought every inch of it to life. The performances were top-notch, and each actor delivered humor and energy that kept the audience entertained. (…) The balance of mystery and comedy was perfect, making for a thoroughly enjoyable evening. We left the theatre with the great feeling that we had just witnessed another standout production of Sherlock Holmes in Vienna. (…) For an evening full of wit, suspense, and laughs, don’t miss The Sign of the Four at Vienna’s English Theatre.
