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Disclaimer:
The reviewers' opinions are their own and do not necessarily reflect the views of TheatreLouisville.org. |
Peer Reviews The Crucifer of Blood By Paul Giovanni
Sherlock Holmes is a character defined in part by tremendous discipline. His keen mind and awe-inspiring powers of deduction may begin with innate ability but these qualities have been developed through years of study and application. Paul Giovanni's play The Crucifer of Blood, featuring that most famous fictional detective, is adapted from the story "The Sign of Four" and presents a classic Holmes mystery wherein that discipline is used to good result. Sadly, this Wayward Actors Company production of the play is lacking in exactly this quality. The first of five acts sets up the foundation of the plot: Three British soldiers serving in India come into possession of a treasure and take a blood oath to protect its secret. Thirty years later, Irene St. Clair (the daughter of one of the three men) seeks Holmes' assistance, the story begins to unfold, and before long a murder has been committed and "the game is afoot." The plot delivers a suitably complex and atmospheric story, moving from 221-B Baker Street to an opium den and fog-shrouded dock in the middle of the night, as Holmes, his erstwhile partner Dr. John Watson, and the ever-befuddled Inspector Lestrade pursue the killer in a manner that will satisfy die-hard fans. Unfortunately, this production suffers from a sluggish pace and inconsistent acting that keep the action from building any real excitement or narrative momentum. Missed cues and several clumsily staged moments of action were difficult to overcome and were exacerbated by mishaps with props and set pieces dropping and crashing during set changes. Several of the cast managed to provide some clarity in their characterizations: Frank Whitaker was a winning Dr. Watson, avoiding the cliché of Watson as a well-meaning buffoon, and Pamela Stack was a fine Irene St. Clair. Part of the plot has these two characters caught in a burgeoning romance, and some of the evening's better moments came from their shy and awkward interactions. Ian Ellis, Rick O'Daniel Munger and Tim Curtsinger were effective as the three soldiers who set the mystery in motion, although Mr. Curtsinger is forced to spend too much of the play struggling with an unwieldy peg-leg prop that was distracting. Sidney Hymson, Tom Shulz, Justin Rich and Kenny Harris were satisfactory in filling various smaller roles. But Rich Williams delivered an Inspector Lestrade marred by a supercilious attitude and an all-purpose British accent that seemed ill-suited to a Scotland Yard detective. As for Holmes himself, Earlington Taylor was an energetic and magnetic presence, but he is miscast as Holmes. He was quick and agile with the dialogue, and seemed to be enjoying the displays of deductive reasoning that are hallmarks of the character, but he was lacking that all-important intellectual discipline that is essential when portraying the world's first consulting detective and sometimes was a little over-the-top in his performance. By the time the long evening was finally reaching its conclusion, fatigue was evident among the cast and the audience. For a fan of the Sherlock Holmes stories for many years, this production proved disappointing, and an unfortunate misstep for Wayward Actors Company.
The Crucifer of Blood Posted Oct. 26, 2008
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