Review: MISS HOLMES at DOLPHIN THEATRE, Auckland

Miss Holmes”, directed by Jacquelyn Harding, is everything a classic whodunnit should be: superbly characterised, intricately plotted, beautifully costumed, and thoroughly engaging entertainment. Harding sustains both the truth of the whodunnit and the drama of the investigative mystery. Although the play is a lengthy and wordy two and a half hours, it is enacted with skill, allowing the audience to grasp the clues as they emerge. Miss Holmes is a tenacious and incredibly intelligent woman living at a time when neither trait was desirable, with very little care to conform to society’s desires.

The mystery is enriched by deft touches of witty dialogue, especially in the exchanges between Miss Holmes (Jess Ellison) and Dr. Watson (Lyndsey Garner). Their lines are delivered with realism rather than broad theatricality, giving their partnership an appealing sense of play, loyalty, and intelligence. Jess Ellison captures the complexity of Holmes beautifully, revealing a mind that swings between restless, high-energy brilliance and moments of deep boredom or melancholy.The production also gives truthful weight to its portrayal of pioneering women in medicine, showing characters who challenge the limits placed on them by society. Charlie Parker is excellent as the tenacious and highly intelligent Dr Elizabeth Anderson, while Tash Allen brings nuance to Lizzie Chapman, a woman who both fears her husband and takes pride in his detective skill, despite his questionable morals.

 The women of this time were underestimated, and in this play, display very little care to conform to society’s desires. The play provides an excellent recreation of the period of change. They are indeed modern women. “I believe you’ve come at the wrong century”. Comic relief was supplied by the incomparable Lisa Inman, whose upbeat energy and comic genius is again effectively employed as Mrs Hudson. Such “restorative power in a cup of tea.” Several cast members skillfully present more than one role. Oliver Roberts (Edwin Greener/Superintendent) and Max Easy (Thomas Chapman/Orderly 3) do this so brilliantly we hardly recognize the double up. Of particular note is the “life” brought to their scenes – where each character had emotional truth in facial expression, voice and body posture.

The best scene is that in which Watson and Michael Stanford (Noel Prasad) break Holmes out of the asylum,(Bedlam) by pretending to be German speaking neurological specialists. This scene is deliciously witty and the comic timing (shaped and supported by Natasha Ross and Paul Greenfield) is perfect.

To keep the dialogue compelling throughout, the pace needs to remain quick, punctuated by longer pauses that point significant words and phrases. Various roles within the narrative do this well. Outstanding work from Natasha Ross as Eudora Featherstone, believably aged and with every nuance captured with flair. “Something sinister is at work.” Paul Greenfield is the pompous government official Mycroft Holmes, a slick resonant and vocally rich intelligent foil to Sherlock. Greenfield brings out the quiet authority, the brilliance and shows that intelligence alone does not create a detective. Lestrade (Fred McFall)  is the epitome of a determined but conventional Scotland Yard detective. 

The setting (Robyn Bull) is dark and multi-levelled and cleverly employed to convey a huge number of various locations. Wardrobe (Robyn Fleming, Scarlet Weir ) capture period, character personality, status and contrast with flair. The costumes are a delight. The pace of the production is commendable thanks to a hard-working stage crew, led by the experienced Stage Manager Craig Rousse.

On until August 22 - so plenty of chance to still see this one! .

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