How would the Sherlock Holmes universe change if Holmes and Watson were women? That’s the question posed by Centerstage’s current dynamic production. “Miss Holmes Returns” couples the familiar appeal of a thorny Sherlockian mystery with the unusual twist of centering on cases, ideas, and events that matter to women in both the Victorian era and now.
Written by Christopher Walsh, “Miss Holmes Returns” is a loose sequel to his “Miss Holmes” script. Sherlock and Watson have been trying for years to track down the mysterious “Professor” who seems to be behind a string of complex, interrelated murders. They finally get a lead when they discover a link between this Professor and a nurse who, although she killed for self-defense, is forced to go on the run because she is a women’s activist of color.
Centerstage’s production immerses us in a Victorian London rife with socio-political problems that its female inhabitants want to address, despite facing blockades at nearly every step. Director Alyson Soma gently balances this weighty material with the more charming aspects of the period, like the banter and posh mannerisms, along with the novelty of the female characters in this Holmesian tale taking center as the key sleuths, witnesses, and victims.
Elizabeth Bonar’s lighting design alternately creates a warm atmosphere, such as with a dappled lighting affect, and a far more foreboding sense when the London skyline flushes dark blue. The set design by Niclas Olson further compliments these dualities: Holmes and Watson’s residence of 221B Street is filled with cozy clutter, but the London skyline hanging above is more austere. I did get a little nervous about a window set piece that descended from the rafters, sometimes with disconcertingly wide swings, but I’m confident these tech issues will get sorted out as the production run progresses. All in all, the execution of the many scene changes was impressive and swift for a script that demands quite a few different sets, enhanced by the smart use of wheeling carts to carry set pieces and props.
Trista Duval leads this ensemble of twelve as Sherlock herself. Duval captures Sherlock’s signature genius when it comes to mysteries and her obliviousness to social nuances with an added dose of empathy; her ultimate motivation isn’t solving the puzzle, but helping the women her society has abandoned. Atlas Peek plays opposite as Dorothy Watson and offers us a woman who not only excels in her respective fields of doctoring and writing, but takes pride in her work. Even when at odds with one another, these actors tenderly present the ease of their characters’ relationship, whether Watson is teasing Holmes about her supposed love triangle or Holmes is fetching Watson a drink without being asked. Other actors of note include Mrinalini as the nurse on the run, who gives us a moving portrait of a woman who, despite the abuse she’s faced both personally and by society, strives to make a better world; Tim Takechi as an inspector believably torn between his professional duties as a cop and his personal affection for Holmes; and Josh Wingerter, who brilliantly shows his character transform from a bumbling, happily anxious botanist to someone far more calculating and cold.
Be sure to have a stroll through the lobby before the show or during intermission to enjoy the current abstract art display by Tina Ostrander, courtesy of the Federal Way Arts Commission. You can sip on one of Centerstage’s current themed cocktails while you do. Opt for Sherlock’s Experiment, featuring Blackfish gin and cinnamon, if you’re craving something light; if you prefer a creamy drink, try Doctor (Watson’s) Orders, which is a fusion of local business Chai Pyala’s handmade chai concentrate, Blackfish’s Sweet Tea Liqueur, and milk. The concession stands also offer an array of snacks and non-alcoholic drinks, and you can enjoy all beverages inside the theatre.
“Miss Holmes Returns” runs through October 26. Performances occur Friday evenings, Saturday evenings, and Sunday afternoons. To learn about pricing options or purchase tickets, visit Centerstagetheatre.com.
Anna Tatelman is a playwright and professional writer who holds an MFA in Creative Writing from the University of New Orleans. She has been featured or quoted in publications such as Forbes, Indeed.com, HackerNoon, and POPSUGAR. She also writes reviews for The Sound on Stage. Read more of her work or connect with her online at www.annatatelman.com.
