Genesian Theatre Company’s production of Moriarty feels like you’ve just stepped right out onto a fog-drenched Baker Street. The lights dim, the smell of intrigue curls in the air. You can almost hear the low hum of London’s underworld plotting in the shadows.
Written by Ken Ludwig, Moriarty is a relatively new addition to the Holmes stage canon. It premiered in 2022 in the US and arrives at the Genesian for its Australian premiere. Ludwig, known for his skilful hand with comedy (Lend Me a Tenor, Baskerville), brings the same energy to the Holmes world. In true Conan Doyle spirit, the play pairs breakneck pacing with colourful characters and clever verbal sparring. The result feels fresh yet reassuringly familiar.
The story begins with what seems like a straightforward case: the Bohemian King’s stolen letters. But as Sherlock Holmes and Dr Watson tug on the first thread, they unravel an international conspiracy involving spies, blackmail, and a shadowy network of criminals led by Holmes’ most formidable foe, Professor Moriarty. Along the way, they’re joined by the quick-witted American actress Irene Adler, as the stakes escalate to nothing less than world peace.
Gregory George’s direction embraces the play’s pace and theatricality. The staging and transitions are crisp and uncluttered, allowing the audience to focus on the verbal gymnastics and shifting alliances.
As Sherlock Homes, Joshua McGowan is coolly cerebral yet with a flicker of mischief, while Peter David Allison’s Dr Watson is the perfect foil – warm, grounded, and dryly funny.
Jessica Joseph-McDermott makes Irene Adler an irresistible mix of charm and steel. Peter Gizariotis’ Moriarty commands the stage with a patient, calculating menace.
The ensemble, including Matthew Dell, Susan Jordan, Dimitri Poulos, and Isla Harris, each takes on multiple characters. Their speedy transformations and cameos from the greater Holmesian canon add flashes of humour and colour throughout.
Susan Carveth’s detailed period costumes carry the audience from London’s drawing rooms to shadowy alleys.
Michael Schell’s lighting design shapes the atmosphere with pools of golden lamplight that give way to stark shadows in moments of danger. His sound design eloquently echoes the soundtrack from the 1979 film, Time After Time.
Peter Curtis’ set smartly accommodates the play’s shifting locales, providing just enough detail to set the scene while allowing the action to flow without interruption.
Genesian Theatre Company’s production of Moriarty is a lively, intelligent romp. It is a love letter to classic detective storytelling with just enough modern sparkle to keep things surprising. A pastiche that invites Holmes aficionados and new readers alike to revisit the old stories, this witty, fast-paced mystery has style to spare.
Genesian Theatre Company presents Ken Ludwig’s Moriarty. Running to 13 September at St Joseph’s Church Hall, 2B Gordon Street Rozelle NSW 2039.
Tickets: https://genesian.sales.ticketsearch.com/sales/salesevent/141450
Website: https://genesiantheatre.com/
