Baskerville – a name synonymous with one of literature’s most famous duos, Sherlock Holmes and Doctor John Watson. Based on Sir Arthur Conan Doyle’s The Hound of the Baskervilles, Ken Ludwig’s adaptation, Baskerville, adds a twist: a comedic parody of the infamous tale. After a successful run back in May, the Pepperpot Players swapped the small boards of Niton Village Hall for the larger stage of Shanklin Theatre. This change of venue did not seem to phase the actors, who used the expanded space efficiently throughout.
In the play, Sherlock Holmes and Doctor Watson investigate a family curse and a spectral sighting of a hound on the misty moors of Dartmoor — a landscape steeped in myth and folklore, as much today as it was in the era of the original story, now forever associated with Holmes thanks to Doyle’s classic.
Kevin Wilson took a thoughtful approach in his portrayal of Sherlock Holmes, while Steve White brought the right balance of emotion as Doctor Watson. His monologues were so well delivered that it almost felt as though the book were open in front of me. Taking on Sir Henry Baskerville (and his ancestors) was Terry Pearson, who added an American swagger to the role and made it distinctly his own; this was equally evident in his portrayal of Lestrade.
While the play traditionally consists of five actors playing around forty characters, this production doubled the cast to ten — a choice that worked well, sharing the load and ensuring everyone had their moment in the spotlight. Sue Clark and Denise Farrow made a strong double act as the Baker Street Irregulars, bouncing off each other nicely. Chrissie Blow played several key characters, bringing a unique style to each, while Ros White — complete with German accent — made the audience titter with her pronunciation of certain words. Shani Watts cameoed in a few scenes, with her “woman with baby” drawing chuckles, and Chris Turvey gave a sweet performance as Beryl Stapleton; her scenes with Sir Henry were a joy to watch. But the biggest shout‑out goes to Steve Watts, who played a plethora of characters, each distinct from the last. Whenever he appeared — whether holding a butterfly net or sporting a false moustache — the audience began laughing long before he even uttered a word.
Under director Lorna Wilson’s guidance, the right mood was captured throughout. Lighting shifted to reds and greens during intense scenes, and the Hound was represented through sound effects, striking a strong Gothic‑horror balance. The actors embraced the comedic elements, while the addition of while the addition of classical music — including Carl Orff’s O Fortuna, Verdi’s Requiem: Dies Irae, and the trademark “dun dun dunnn” suspense motif — provided an effective blend of seriousness and humour. Minimal props and set ensured the audience remained focused on the story and characters.
To bring the case to a close: the Pepperpot Players delivered all the elements of one of Doctor Watson’s tales from The Strand Magazine. A well‑deserved “well done” to everyone involved.
