Steven Canny and John Nicholson's theatrical adaptation of the classic suspense novel, "The Hound of the Baskervilles" (1902), infuses the story with energy and slapstick comedy to entertaining ends. By incorporating puns, horseplay and cartoonish facial expressions, this Central Square Theater show morphs the familiar personalities and plot of Sir Arthur Conan Doyle's novel into a two−hour caricature.
Director Thomas Derrah, known for his work with the American Repertory Theater, keeps his reinterpretation of "The Hound of the Baskervilles" remarkably close to the original plot. His triumph is impressive, considering his play uses just three actors — Remo Airaldi, Bill Mootos and Trent Mills — to portray the novel's 16 characters.
The play opens with a plea to Sherlock Holmes (Airaldi) and his trusty Dr. Watson (Mootos) for help in securing the safety of Sir Henry Baskerville (Mills). It appears Baskerville is putting himself at risk by moving into his ancestor's mansion. Holmes sends Dr. Watson to accompany the endangered heir, and there, the mystery begins.
The danger hails from an old family legend about Sir Henry's sinning ancestor, Sir Hugo Baskerville, and the retribution brought upon him by a great, fiery hound. Before Sir Henry's arrival, his head of the mansion — and closest relative — is killed under mysterious circumstances, with abnormally large paw prints found near his corpse. The death signals a warning for all Baskervilles — and gives Holmes a reason to investigate. Upon his arrival, the mystery begins to unravel with fatal consequences.
The three actors develop a wonderful balance of personalities throughout the course of the show. No one role stole the spotlight, and each was highlighted and made memorable by the others. They conveyed their roles as much through movement and facial expression as they did through their characters' dialogues and certainly crafted a visually entertaining performance. Whether Mootos' face was convulsing in glee or Airaldi was sashaying off the stage, the actors always threw in something unexpected to entertain the audience, and there was never a dull moment.
The show's success lies in its willingness to break out of the realm of typical literary spoofs. Where a tamer adaptation might have become trite and predictable, everything from the opening scene to the mid−play breakdown of Canny and Nicholson's piece surprised and delighted theatergoers.
The play takes the novel's humorous nuances, magnifies them and makes them the driving force of "Hound's" entertainment. For example, the character of Sir Henry, the mansion heir caught between love and impending danger, is a naive character getting more naive by the minute. Mills brings vivacity to the stage by playing his character as an easily excitable, love−struck schoolboy.
The play's sole drawback lies in its portrayal of the relationship between Holmes and Watson. While there were moments of amusement, the owner−pet dynamic Airaldi and Mootos depict has been done again and again. In this particular instance, it operates as a more limiting than dynamic force in the play. Forced into the role of witless sidekick, Watson becomes one−dimensional in comparison with his companions.
Half the fun of this play's experience is due to the theater's patrons, who are almost as fascinating at the play. The audience last weekend included a mix of local college students, families and devoted Central Square Theater attendees. This informal audience created an atmosphere that wholeheartedly encouraged laughing out loud and even interacting with the actors.
Overall, "The Hound of the Baskervilles" succeeded in creating a fun and whimsical mood for the audience. The play is worth the time and ticket, offers the perfect excuse to head into Cambridge for the evening and is truly not to be missed.
