Review: SHERLOCK HOLMES AND THE 12 DAYS OF CHRISTMAS, Birmingham Rep
Photo credit: Pete Le May
We spent a very pleasant evening at the Birmingham Rep for the UK premiere of Sherlock Holmes and the 12 Days of Christmas last night; a play with music, a festive Sherlockian caper set in London’s West End but debuting proudly here in Birmingham.
It is charming, witty and gently Christmassy, a cosy seasonal outing, though it does not quite achieve the sparkle it promises. Nothing is bad or misjudged; it simply loses its focus, lacking a clear sense of direction or purpose. Sherlock enthusiasts may find themselves wanting more, while those seeking an alternative to panto or A Christmas Carol will likely enjoy its warmth and whimsy. With refinement, it could very well be West End ready, but it is not quite there yet.
The premise is delightfully inventive: a series of murders linked to the 12 Days of Christmas, with victims drawn from London’s theatrical world. Humphrey Ker and David Reed, who also co-wrote the piece, play Sherlock Holmes and Dr Watson, and their long-established partnership is a real asset. Ker’s Sherlock is arrogant, condescending and irresistibly charming. Reed’s Watson is warmly headstrong and beautifully grounded. Their chemistry anchors the production.
They are joined by an excellent ensemble: John Kearns’ delightfully baffled Lestrade; Margaret Cabourn-Smith’s scene-stealing Mrs Hudson and other roles, each delivered with impeccable comic timing; Christian Andrews as Fafner; Susan Harrison as Ernie; Cameron Johnson as Arthur Stone; Andrew Pugsley as Wotan; Deborah Tracey, who offers a truly delightful and memorable Queen Victoria; and Helena Wilson, who is wonderfully sharp as Athena Faversham, Sherlock’s smarter, wittier and more fully rounded adversary. The Chorus, Amanda Lindgren, Mia Overfield and Chomba S Taulo, support with versatility and energy.
Visually, it is a treat. Designer Mark Bailey creates a world that blends pantomime vibrancy with earnest Victoriana, while Kay Wilton’s costume supervision revels in the late Victorian and early Edwardian aesthetic. Anna Watson’s lighting adds warmth and theatrical flourish. The illusions, created by Chris Fisher and Will Houston, are a wonderful touch, clever and surprising and perfectly in keeping with the show’s playful tone.
For all these strengths, the balance is off. The script favours witty one liners, surreal silliness and affectionate nods to music hall and pantomime, but it sacrifices the breadcrumb trail that is essential to a satisfying whodunnit. When the murderer is revealed, there is no satisfying moment of recognition, no sense of clues falling neatly into place. Instead, the plot meanders, charming but unfocused.
Musically, the much-anticipated reunion of Andrew Lloyd Webber and Tim Rice underwhelms. The score adds little momentum, though Watson’s second-half lament, ‘Houses are not Holmes’, offers a fleeting glimpse of their old brilliance. Unfortunately, it is not enough to leave a lasting impact.
All the right ingredients are present: humour, nostalgia, festive spirit, mystery and a top-tier cast. Yet the overall recipe does not seem sure what it wants to be. It is amusing rather than laugh-out-loud funny, heartfelt yet rambling, spirited but lacking a clear narrative drive.
Still, it is an enjoyable evening that gently brings you into the Christmas mood. With tightening, more focus and a stronger central thread, it could become something truly special and perhaps West End bound. For now, it is a charming but imperfect festive treat.
*** Three stars
Reviewed by: Alanna Boden