Production Blog

A behind the scenes peek at rehearsals, artistic choices, artist interviews, and the daily business of running a theatre.

A chat with Ashley Wood about the thriller genre

Q: As in every Sherlock Holmes story, mystery and intrigue abound, and things might not always be as they seem. As an actor, what are the differences and/or similarities in your approach when you are acting in a suspenseful thriller like this versus another genre, like a kitchen sink drama or a farce? How does being in a mystery (as opposed to another genre) affect or inform your process as an actor?

One of the main differences in approaching a mystery is how we handle the presentation and processing of information. As an ensemble, we’re layering a lot of story elements. For these elements to emerge cohesively for the audience, they must each be presented precisely. While that’s always true in theatre, no matter the genre, it’s heightened in a mystery. We’re laying out puzzle pieces for the audience and for ourselves. Every word that’s said, everything that happens…it’s almost all italicized to some degree. This presents a few challenges, one of which is negotiating those degrees so the experience doesn’t all sound and feel like the same note being played over and over. All of this careful laying out of the puzzle still has to come from a very human place for it to be engaging. But it sure is fun to tackle!

Read 'The Final Problem' by Sir Arthur Conan Doyle

Read The Final Problem by Sir Arthur Conan Doyle

The Final Problem sets the scene for where we find ourselves at the beginning of Holmes & Watson. It is by no means necessary to read this prior to seeing the play, except for your own enhanced enjoyment. 

"It is with a heavy heart that I take up my pen to write these the last words in which I shall ever record the singular gifts by which my friend Mr. Sherlock Holmes was distinguished. In an incoherent and, as I deeply feel, an entirely inadequate fashion, I have endeavored to give some account of my strange experiences in his company from the chance which first brought us together at the period of the “Study in Scarlet,” up to the time of his interference in the matter of the “Naval Treaty”—an interference which had the unquestionable effect of preventing a serious international complication. It was my intention to have stopped there, and to have said nothing of that event which has created a void in my life which the lapse of two years has done little to fill. My hand has been forced, however, by the recent letters in which Colonel James Moriarty defends the memory of his brother, and I have no choice but to lay the facts before the public exactly as they occurred. I alone know the absolute truth of the matter, and I am satisfied that the time has come when no good purpose is to be served by its suppression. As far as I know, there have been only three accounts in the public press: that in the 'Journal de Geneve' on May 6th, 1891, the Reuter’s despatch in the English papers on May 7th, and finally the recent letters to which I have alluded. Of these the first and second were extremely condensed, while the last is, as I shall now show, an absolute perversion of the facts. It lies with me to tell for the first time what really took place between Professor Moriarty and Mr. Sherlock Holmes."  

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