Past Productions

British Touring Shakespeare

The Hound Of The Baskervilles

By Sir Arthur Conan Doyle

Adapted for the stage by Andrew and David Hobbs

2023 production at The Bridge House Theatre and UK Open Air Tour directed by Andrew Hobbs

Theatre Plays review The Hound Of The Baskervilles at Fyne Court:

Well known stories don’t come much bigger than ‘The Hound of the Baskerville’s’; countless film and TV adaptations have sat alongside stage versions over many decades. Transferring Conan Doyle’s great stories for the theatre is not something for the faint of heart – these are tales of surprising complexity, of straggling timelines, backstories and plots with many twists and turns. Many adaptors take the path of sending the stories up; injecting them with ‘farce’ and ‘nonsense’ – it is something of a cop out. It is, therefore, delightful to report on the current version by British Touring Shakespeare which provides a faithful adaptation sprinkled with elements which are deliciously tongue-in-cheek.

I watched the show in the courtyard of Fyne Court, a National Trust Property and Gardens in Somerset. In blustery late afternoon and with hints of rain in the air, the production played out in front of vast trees and lowering temperatures and in full daylight. By their very nature, touring productions – especially those, like this, where there is one performance only – have to be quick and easy to assemble and transport; no lighting (apart from natural), limited props and costumes and no set, apart from the surroundings they perform in. The adaptation needs to be all the more smart as a result and here the work of Andrew Hobbs and David Hobbs really pays off; a clear and lucid version of the story that provides those with a knowledge of it and those who do not, with something as close to Conan Doyle as you could want.

With a cast of just seven playing some 20 roles, it is a feast for actor and audience alike. I have witnessed many portrayals of Sherlock Holmes on stage; Keith Michell in ‘The Crucifer of Blood’; Ron Moody in the musical ‘The Revenge of Sherlock Holmes’ and Jeremy Brett re-creating his famed TV role in the play ‘The Secret of Sherlock Holmes’. Tom Thornhill must be the youngest actor I have seen as Holmes on stage but youth is no obstacle to a great performance and this is an exceptional portrayal. Incisive, calculating, commanding and with a twinkle in his eye – everything you want an actor to provide in the role; complemented by clear vocals and broodingly handsome features, all the boxes are ticked here – and some! Much of the story, as in the original, is narrated by S P Howarth as Dr Watson, also blessed with vocal clarity and stage presence; a somewhat staccato performance which takes some getting used to, but is overall a very solid one. Brendan Matthew is a wonderful confection of bluster and scowl as Sir Henry Baskerville – a usual bland role, here elevated by the actor’s ability to find the look or the reaction to draw the audience in. Georgie Murphy takes on four roles including the pivotal ones of Beryl Stapleton and Mrs Barrymore – the scene where she has to lift two very ‘heavy’ suitcases is hilarious and in each she makes her mark; an impressive tour-de-force. Paul Winterford is also a stand-out performer – not least as the butler Barrymore, dragging one leg behind him and moving across the stage in the manner of Julie Walters as the waitress in the ‘Ready to Order Sir?’ sketch by Victoria Wood. Wonderfully fruity performances in his various roles. Alex White makes Stapleton a very chirpy chappy until he shows something of the other side to his character; the actor smartly gives us a glimpse of his range within just that role itself. In between accompanying the play on the piano with his own atmospheric compositions, Alistair Smith provides an array of tiny roles all performed with aplomb.

It is a super ensemble cast. There is a relaxed feel to the production which allows the occasional aside and off-the-cuff remark – Holmes accepting applause when he catches his deerstalker as it is propelled across the stage like a frisbee – and the improvisation of Holmes as one innocent-looking member of the audience (myself in this case) is picked out as resembling an historical member of the Baskerville clan.

But what of the titular character? Where is this baying dog with a thirst for blood? No attempt is made to re-create the hound, it is all done with sounds and acting and it works a treat. It is truly amazing the tension that the production builds up as the story reaches its climax without any complex technology and special effects – this is theatre stripped bare and it is all the more successful for that.

Andrew Hobbs direction is fluid and adaptable – it has to be – he also knows when to take the story seriously and when it can relax and this enables the audience to be engaged throughout.

Conan Doyle’s expositions are often complex and lengthy and tricky to condense and there are a couple of times here where more brevity is needed – the final scene is an example – but this is a minor quibble. The achievement of the production is the overall result which is extremely praiseworthy. A member of the audience mentioned that she could have brought all generations of her family and all would have enjoyed it – ideal entertainment!

This is a cracking production of a great story, adapted with care and performed with fun and flair.

Four stars by Paul Smith, 26/08/23

Everything Theatre reviews The Hound Of The Baskervilles at The Bridge House Theatre:

Strong staging and a game cast make for an entertaining evening on the wild moors.

Sir Henry Baskerville (an excellent Mark Beauchamp) returns from abroad to claim his family heritage after the suspicious death of his uncle. He has inherited Baskerville Hall, but has he also inherited the family curse? Set against the eerie backdrop of the moors, we follow Sherlock Holmes (Tom Thornhill) and Dr. Watson (SP Howarth, also excellent) as they investigate the legend of a supernatural hound haunting the Baskerville family.

Paul Winterford plays multiple roles with impressive accent work, Emma Riches too plays several roles; first a giddy delight in the small role of Cartwright, Holmes’ messenger, and later in the more serious role of Beryl Stapleton, a neighbour of Baskerville Hall.

Director Andrew Hobbs makes superb use of the small space, with the stage and theatre doors making for entrances and exits, and cast members hiding by the wall and even dodging boots thrown from offstage. Watson’s narration is particularly effective, supported by lighting design from Matthew Karmios, which uses changes in lighting to prompt Watson to step forward and fill in details of transition to the next scene.

The evening is accompanied by music composed and performed by Alistair Smith (who also plays a couple of very minor characters) and this adds to the atmosphere throughout. In such a small space, I had wondered how they would manage the hound itself, and the answer is: simply and very well. A combination of sound and light, with a freeze and time slowdown from the cast is tremendously effective, the red light immediately making us think of the demonic eyes of hellhound. A fog machine fills in for the moors, again simple but successful. The costumes are all effective, Watson and Sir Henry in dapper suits, and an inspired update to keep the use of Holmes’ famous pipe – a pipe vape!

Smart choices and well thought out staging complements a cast who are clearly committed. There is a sense of camaraderie between them and an atmosphere of fun at all times. A moment where a corpse leaves the stage but bumps into audience members provides warm amusement for both audience and cast, and a light scene of an audience member becoming a Baskerville portrait is a treat for all. With two hour-long halves, Baskervilles runs a little bit too long and trimming down one or two subplots, to up the pace just a little, would benefit the show while still doing justice to Arthur Conan Doyle’s work.

I recently moved quite close to the Bridge House Theatre and several friends came with me to see this. Afterwards, the immediate and unanimous response was that this was a lot of fun. The British Touring Shakespeare team have captured the intrigue and the mystery you would expect from a Sherlock Holmes story and made for a most entertaining evening – the game is very much afoot!

By Dave Brockin, 28/05/23

Much Ado About Nothing

UK Tour 2023 directed by Andrew Hobbs

Dracula

By Bram Stoker

Adapted for the stage by Andrew and David Hobbs

2022 UK Summer Open Air Tour & Indoor Halloween run at the Bridge House Theatre London

Directed by Andrew Hobbs

The Merry Wives Of Windsor

UK Tour 2022 directed by Andrew Hobbs

The Hound Of The Baskervilles

By Sir Arthur Conan Doyle

Adapted for the stage by Andrew and David Hobbs

UK Tour 2021 directed by Andrew Hobbs

The Lumber Room reviews The Hound Of The Baskervilles at Clandon Wood:

One of my favourite ever ‘HOUND’ dramatisations had taken place in a graveyard, so when Guildford Fringe announced an open-air production in the Clandon Wood Natural Burial Site presented by British Touring Shakespeare, this seemed a good first step to seeing Sherlockian performances in person rather than online. The original performance at 2pm being sold out, an additional 5.30pm performance was put on, which I managed to get a ticket for. So it was that after my Sunday lunch, I caught a train to Clandon and made my way to the Natural Burial Site, for my 52nd HOUND.

Finding a place to put my blanket, and having scanned a QR code to get an electronic programme, I settled in for my afternoon’s entertainment. The audience was in two blocks, with a clearly defined aisle between, which within the first five minutes of the play the terrified Sir Charles Baskerville (Mark Beauchamp, who returned later as his nephew, Sir Henry) ran up screaming. It was then time for the introduction of our heroes, with Tom Thornhill’s Holmes costume being reminiscent of the Tenth Doctor with a brown inverness cape rather than an overcoat. Our narrator as ever was Watson (in the person of a bearded Stephen Purbeck Howarth). Dr. Mortimer (played by Andrew Hobbs, who also directed and co-wrote the script with his father, naval historian and author, David Hobbs MBE) then attended the Baker Street rooms, wisely summarising the legend of the Hound, and it was not until they all walked back up the aisle, and I turned my head to follow them that I realised that the collapsed body of Sir Charles was still there ready to be examined.

The story unfolded at a good pace, and with a running time of just over two hours, very little was left out from the novel. Also, unlike most productions I have seen recently there was a reasonably sized cast (6 men, 3 women), so doubling up was greatly reduced. I must make special mention of Jay Joel, whose performances as butler Barrymore and the often written-out Frankland stole the show. I also enjoyed Ben Howarth as Stapleton. Even the Musical Director, Alistair Smith, as well as playing the musical score, popped up in three minor parts. The fact that their Sir Henry had a beard required a slight rewrite, but otherwise it was all very canonical. Even a few showers of rain did not spoil the afternoon. Recommended.

5/5 by Peri Brown, 14/07/21

Twelfth Night

UK Tour 2021 directed by Andrew Hobbs

The Two Gentlemen Of Verona

UK Tour 2020 directed by Andrew Hobbs

A Midsummer Night’s Dream

UK Tour 2008 directed by Una Buckley

Remote Goat review A Midsummer Night’s Dream at Shenley Park:

Shakespeare as it should be

There are many amongst us who would claim that Shakespeare should always be performed outdoors. I’m a neutral when it comes to that argument but surely no one can deny that this particular play should always be performed in the open.

Of course it helps when the location is as stunning as the walled garden at Shenley Park. Containing a grass covered amphitheatre, this setting on a slightly gloomy midsummers night was perfect for the Bard’s take on folklore, fantasy, love and nature.

The cast, all playing multiple roles, were uniformly good but special mention must go to Holly Berry’s passionate but confused Helena and also to Robert Paul for his pompous. self-obsessed Bottom. Many other things will stay in the memory though: Lucyelle Cliffe’s lovely singing voice, the inventive songs penned by Alistair Smith and Chris Sharp’s hilarious suicide as Thisbe in the play within a play to name just three.

Also S P Howarth’s sly, mischievious Puck and Emma Burn’s Hermia, especially when enraged, stood out.

Great credit must go to Una Buckley for her direction. Despite some occasionally long costume changes the performance never flagged and it was obvious all the players were word perfect and well drilled. She also managed to incorporate genuinely funny slapstick without ever overdoing it. This is also the only Shakespearean play I’ve seen that managed to sneak in a blast of ‘Let’s get it on’ by Marvin Gaye.

The cast, without lighting, microphones or effects, and despite blustery winds and two rainstorms, did exactly what everyone should do when they perform Shakespeare. They trusted the words.

To be honest, in an ideal world, Shakespeare probably IS better when performed outdoors. And in an ideal world it would always be performed by British Touring Shakespeare.

Five stars by Dave Evans, 21/06/08

Romeo and Juliet

UK Tour 2006 directed by Una Buckley

The Stage reviews Romeo and Juliet at Tabley House:

British Touring Shakespeare, this hard-working and innovative young troupe, is currently touring the castles and stately homes of some of the leafy purlieus of England, winning acclaim with this tailored, slightly truncated version of Romeo and Juliet.

Tabley House, a beautiful Palladian structure from the 1760s, provided an open air atmosphere breathtakingly dramatic, as dusk fell and shadows lengthened in perfect harmony with the unfolding of the tragic events. The forecourt before the huge portico made a natural stage, framed by two curved staircases at either end, leading up to what might have been designed for Juliet’s balcony.

Clementine Croft as the tender Juliet delighted the audience almost as much as the eye of Romeo, who was played in no effete manner by Chris Chambers. They looked good together, their chemistry was right and when they kissed for the last time had this ancient house ever witnessed a more poignant stretched second?

This was in every way an economical but reflective and romantic affair for which director Una Buckley and producer Andrew Hobbs – also doubling as the willing Benvolio and the haughty Paris – deserve full credit. They took some liberties, it has to be said, but got away with them. The fights were perfunctory affairs, over before they had started, which is not to take anything away from Gareth Rubin who made a suitably menacing Tybalt.

And, oh yes, Mercutio was a woman, played to perfection as a jesting virago by Alison Playford, the star of the show, who also excelled as the Nurse.

The sky was pitch-black when the monument scene arrived. The great house had been swallowed up, apart from the weirdly floodlit pillars of the portico, which had become a shadowy Greek temple. It did not seem to matter that Paris did not show at all or Robert Paul’s diffident Friar failed to return. We were witnessing tragedy at its best, alfresco and with the pungency of the night.

By Andrew Liddle 15/08/06

Dr Faustus

2011 production at the White Bear Theatre, London directed by Andrew Hobbs

Remote Goat review Dr Faustus at the White Bear:

This production presented in what is essentially a black box containing the audience, starts in a haze of dry ice. Fortunately, this is the only mystifying part of the show and everything which follows only serves to clarify this classic tale of a man selling his soul to the dark side in exchange for instant pleasures, power and youth.

Performed in modern dress and directed with gusto by Andrew Hobbs, the revised text has been pared down to a lively 45 minutes each way and peppered with modern references. When it comes to contemporary resonance though, the tall, imposing figure of Edward Pemberton’s Mephistopheles does the job – all sharp-suited sangfroid as he demands the client’s loan agreement be signed in blood.

Robert Paul, who is also the producer, plays Faustus as a regular guy; perhaps a little too regular as in order for this play to work well, we need to feel great sympathy for the doctor and his reasons for entering this diabolical pact which must be deeper than a passing interest in the scantily-clad night-club dancers conjured up for his pleasure and appropriately choreographed by Lucyelle Cliffe.

Anton Shelupanov as Lucifer and S. P. Howarth as Beelzebub are two devils with the grotesque faces and foreign accents that we know all devils must have. There was comedy in the smaller parts with Alistair Smith as the slothest of sloths, barely energetic enough to pronounce his own name, and from those playing the household servants. Emma Burn is turned into an ape by a devilish spell which she is convinced has not worked until she tries to speak; while Simon J. Grant knows the campest way to sweep up spilled salt.

A word about audience participation:If you are going to bring up audience members onto the stage to take part in the action, you must be ready to handle whatever they throw at you. A confident woman pulled from the front row on the night I was there nearly had the actors corpsing. A more talented extrovert could have stopped the show.

In the end, it is the soaring poetry of Marlowe’s writing which is the star of the evening, especially at the climax when Faustus describes seeing heaven opening and all Christ’s blood unable to save him. It is to their credit that all concerned seldom stand in the way of this lofty grandeur and indeed, often enhance it. The voice-over prologue was particularly exciting and the atmospheric sound track complimentary throughout.

Four stars by Malcolm Eadie 28/09/11