You might say that Nashville Children's Theatre isn't just for kids anymore. Not that the venerable institution hasn't always produced high-quality work that adults have appreciated. But unlike typical NCT shows, the company's latest effort, Sherlock Holmes: The Final Adventure, is a full-length production, and targeted equally to Music City's grown-up audience and the 10-and-up junior age group.
Playwright Steven Dietz crafted the Holmes-inspired script, based on two Arthur Conan Doyle short stories — "A Scandal in Bohemia" and "The Adventure of the Final Problem." Dietz's adaptation made its 2006 world premiere at the Pasadena Playhouse as a co-production with the Arizona Theatre Company, and has since made the regional rounds with success.
The basic plot: The King of Bohemia hires the infamous sleuth to retrieve a compromising photograph that is the key element in a blackmail scheme. In the course of events, Holmes meets a formidable female foil — "Women are naturally secretive," states the great detective with his typical surety — and must eventually contend with the devilish Professor Moriarty and his underlings.
Scot Copeland's playful but knowing direction keeps the story moving with welcome style, the action played out on Scott Boyd's marvelously arty yet functional set. Enhanced by Scott Leathers' atmospheric lighting schemes, Boyd's work projects the requisite Victorian charm but also cleverly conveys a machinery theme, captured in part by intriguing video of flywheels and gears. A late scene features a large and captivating rear-screen waterfall.
Unsurprisingly, Holmes is center stage, with author Dietz taking pains to portray a cocksure man of deductive brilliance, strong opinions and entertaining wit. David Compton adds to his recent string of fine performances by bringing Holmes delightfully to life, reaffirming the legendary literary figure's lone-wolf persona and compelling know-it-all arrogance. (Nevertheless, Compton also slyly hints at Holmes' humanity — any man who calls love "a monstrous affliction" certainly must have his issues.)
Also on board is Matthew Carlton as Holmes' essential friend and partner in crime-fighting, Dr. Watson. Carlton and Compton's interplay excels in capturing what may be literature's finest "bromance," offering quick, articulate banter that conveys their faithful comradeship and personal trust, all laced with a subtle underlying humor.
The remaining cast members are some of Nashville's finest, with Marin Miller as the elusive lady of mystery, Bobby Wyckoff as the conniving Moriarty, plus NCT irregulars Jamie Farmer and Samuel Whited, and two NCT newcomers, Christopher Bosen and Steven Berryessa.
Patricia Taber's costumes are wonderful period pieces, and Bill Rios' exotic but jazzy sound design adds an air of mystery.
So can we expect more adult-friendly full-length NCT shows in the future? "Spread the word," says Copeland, NCT's artistic director. "We want to do more of this."
NCT presents the show on its usual weekday morning schedule for school groups, but there are also performances 2 and 6:30 p.m. Saturdays and 2 p.m. Sundays. Visit nashvillechildrenstheatre.org for details.
OMG
The 2001 feature film Legally Blonde is a winning entertainment, and it confirmed stardom for Reese Witherspoon, who lit up the screen in the fantasy comedy and spawned a franchise of sorts. Larry Keeton Theatre has mounted Nashville's first homegrown production of the musical version. Unfortunately, what the movie handles with wit and a wink of the eye, the musical reshapes into inferior plotting driven by weak dialogue. Most of the soul of the original is drowned out by waves of clunky music and humorless characterizations.
The show's cacophonous opening, "Omigod You Guys" (rhymes with "accessorize") sets the evening's tone: loud and assaultive with labored choreography, all of it enacted by a cast of 30 or so, mostly young females of varying talents channeling their best Valley Girl imitations.
Taylor Tracey portrays Harvard Law School wannabe Elle Woods. Tracey is earnest, and she can sing a little bit, but she has a hard time filling Witherspoon's shoes — literally, as she appears uncomfortable in the pink high heels she is burdened with wearing. While a comparison such as that is unfair to a degree, it doesn't seem unfair to ask for a goodly amount of charm and likability in our leading lady.
But the real culprit here is definitely the material, which saddles director Kate Adams with an impossible chore: spinning gold out of straw. The score is by Laurence O'Keefe and Nell Benjamin (who should be brought up on charges), the book by Heather Hach, who cannibalizes a fine screenplay and leaves us with the verbal offal.
It's puzzling how the show earned numerous Tony and Drama Desk nominations. Uninspired melodies are wedded to workmanlike lyrics, resulting in numbers such as "Serious" (an obnoxious mid-tempo semi-ballad), "Blood in the Water" (a ghastly faux jazz tune) and "Ireland," a weak "ethnic" contrivance, which at least is sung credibly by veteran performer Jamie London.
Act 2 opener "Whipped Into Shape" —featuring rope-jumping lady convicts in orange jumpsuits — and the rhythmic, almost rap-like "Bend and Snap" are visually compelling, regardless of the musical content. Plus there's the somewhat daring "Gay or European," which got hearty laughs from last Saturday night's big crowd, who loved the number's unapologetically stereotyped portrayal of young male homosexuals.
A couple of co-starring dogs (in the roles of Bruiser and Rufus) make their way onstage; as you'd expect, they're a big hit with the audience.
It's worth noting that this is the company that recently gave us a sterling rendition of Stephen Sondheim's challenging Into the Woods. Such is the hit-or-miss nature of community theater, though it's hard to imagine even thoroughly skilled professionals pulling off Legally Blonde with much success.
The show continues through Sept. 29 at 108 Donelson Pike. Enjoy. Or at least be amazed.
Email arts@nashvillescene.com.
