Sherlock Holmes and the Adventure of the Ghost Machine
Directed by: Jay Duffer
Produced by: Stage West
Running Time: 2 hours and 15 minutes with a 15 minute intermission
Accessible Seating: Available
Hearing Devices: Available
Sensory Friendly Showing: Not Available
ASL Showing: Not Available
Sound Level: Comfortable volume
Audio/Visuals to Prepare for: Fog machine is used
Reviewed by Tim Bass
The game may be afoot, but this Sherlock Holmes seems perfectly content to leave it tucked away in a closet. David MacGregor’s Sherlock Holmes and the Adventure of the Ghost Machine reunites audiences with Holmes, Watson, and Irene Adler years after the adventures of the trilogy’s first two shows. The familiar faces are older, the stakes are a bit darker, and Holmes himself has undergone a curious transformation. What begins as an amusing portrait of misaligned domestic contentment gradually evolves into a mystery with considerably more ominous consequences. The result is an entertaining conclusion to Stage West’s Holmes trilogy, one that balances humor, intrigue, and genuine affection for its beloved characters.
Before discussing the performances, I would be remiss not to acknowledge the production’s admirable technical achievements. I am typically an actor-centered critic, and performances will dictate my overall response to a show on most occasions. In this production, however, the technical elements became a significant part of my enjoyment.
Claire Floyd DeVries’ set design is extraordinary, packed with visual treasures that reward audience attention throughout the evening. Combined with Tristan Decker’s lighting design and Jason Jordan’s sound design, the production creates an atmosphere that feels immersive without ever calling undue attention to itself. Together, these elements establish the world of the play from the opening moments and remain among the show’s greatest strengths.
The show allows the audience to spend time with older versions of Holmes, Watson, and Adler. Holmes, in particular, has changed considerably from both his earlier appearances and the more familiar interpretations of Arthur Conan Doyle’s legendary detective. Brandon Murphy embraces this shift with confidence, presenting a Holmes whose lighter demeanor initially feels almost startling. Yet Murphy carefully maintains a tonal consistency that follows the play’s changing moods. As the mystery deepens and the danger escalates, his performance evolves naturally with it. The eventual return to Holmes’ deductive brilliance proves deeply satisfying precisely because Murphy has earned that transformation. His performance serves as a steady anchor throughout the evening. Dana Schultes delivers a sympathetic Irene Adler. While the audience can appreciate the comfort and contentment Holmes has found, Adler’s frustration is equally understandable. Schultes communicates a longing for the brilliant detective who once captivated her imagination without ever diminishing the love she clearly feels for him. Much of the first act’s charm comes from the exchanges between Adler and Holmes, as both characters wrestle with the realities of growing older while trying to preserve the qualities that first drew them together. Robert San Juan’s Watson is an amusing take on the classic character. Having previously seen San Juan primarily in dramatic roles, it was a delight to watch him embrace a more playful side. His Watson is delightfully eccentric and often quite funny. What makes the performance especially successful, however, is that San Juan never allows Watson to become merely comic relief. By the second act, he has thoroughly endeared himself to the audience, revealing a depth of loyalty and affection beneath the character’s quirky exterior.
While the principal trio provides the production’s emotional core, many of the evening’s most memorable moments belong to the supporting players. Samantha Potrykus is wonderfully wicked as Marie Chartier, bringing a gleeful sense of menace to her performance. Bob Hess’ Thomas Edison proves equally entertaining, capturing both the inventor’s confidence and colorful personality with wit and a pro’s comic timing. The standout among these supporting performances, however, may be Paul Taylor’s Nikola Tesla. Taylor possesses a fascinating stage presence, drawing attention whenever he enters the scene. The effect is enhanced by exceptional makeup, hair, and mustache work that makes him bear a striking resemblance to historical photographs of Tesla. The physical transformation is impressive, but it is Taylor’s thoughtful, engaging characterization that ultimately makes the performance so memorable.
Like the previous installments, The Adventure of the Ghost Machine weaves together numerous plot threads before eventually bringing them into focus. The mystery unfolds patiently as the audience must trust that seemingly disconnected pieces will ultimately fit together. Fortunately, they do.
Whether or not you have seen the first two entries in the trilogy, Sherlock Holmes and the Adventure of the Ghost Machine is well worth the trip to Baker Street. It offers an engaging blend of mystery, humor, and heart. More importantly, it provides a satisfying farewell to characters who have become trusted companions over the course of three productions.
For fans of Holmes, Watson, and Adler, the final case proves to be a journey worth taking. Tickets can be found at stagewest.org
To the Explorers of the Soul,
Tim Bass
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