Two free-spirited women join forces to emerge from the pandemic as a reluctant “Odd Couple” adventure duo in Kate Hamill’s Ms. Holmes & Ms. Watson–Apt.2B. Directed by Amie Farrell the play is getting its LA-area premiere with a three-week run now-Nov. 2 at International City Theatre in Long Beach. (For details, see below.)
This fresh and fast-paced comedy is Hamill’s feminist take of Sir Arthur Conan Doyle’s famous detective series. One of the most produced playwrights in America, she’s widely known for her adaptations, she calls them “cheerful desecrations” of classics like Emma, Pride & Prejudice, Dracula and Little Women.
An Unlikely Duo
When Dr. Joan Watson becomes the roommate of quirky but brilliant Sherlock (just don’t call her ‘Shirley’) Holmes, she also becomes Holmes’s at-first unwilling crime-solving partner. Together, they careen from caper to caper as they navigate a series of mysterious events while wrestling with their own personal dilemmas. Eventually, they meet their match in a supervillain who might be even more clever than they are.
Following are excerpts from my interview with Farrell about the challenges of bringing Hamill’s comic escapade to the stage.
What’s the appeal of the play for you?
When I first read it, the hysterical writing just popped off the page. As I sat with it, I realized it’s a smart buddy comedy–silly, fun and broad.
I love the idea of people finding each other and making connections. Holmes and Watson become this oddball adventure duo–solving mysteries and kicking butts. These are two wildly different individuals who find themselves thrust into an unlikely partnership realizing they don’t have to agree on anything. They’re each navigating a landscape that’s simultaneously familiar and foreign.
Historically plays, books, films and storytelling in general is through a white and cisgender male lens. Taking a moment and looking around, I know that’s not what my life entails. It’s a mishmash of all genders and generations. Telling a story of all aspects of living on the planet, generationally and culturally and embracing reality, really appeals to me.
Are you a Holmes fan? – What kind of research did you do?
I knew of Holmes and his universe and some of the old stories and the newer stuff that’s come out–but I didn’t geek out on it. Once I committed to directing this show, I dove into it.
You see shows like The Resident, Watson and Elementary that are directly based on Sherlock Holmes. But once you get into it, you realize that many other books, TV shows, movies and plays are influenced by Arthur Conan Doyle’s stories. He created the ideal of the sleuth with razor-sharp intelligence and insatiable curiosity and a quirky partnership that defines the detective genre.
I read the stories referenced in the play including The Hound of the Baskervilles, The Adventure of the Speckled Band and A Study in Scarlet. There are references most people will get and little ones only superfans will understand.
Kate Hamill is known for creating “radical adaptations” of classic literature that center on female voices like her treatment of The Scarlet Letter.
She describes her approach as “radical” because it involves taking significant liberties with the source material to bring her own point of view and challenge the audience. ‘Radical” can go different ways. It can be be soft and gentle. In this case, the “radical” idea is that women process and approach things in a different way.
To see women in charge and unite in community is uplifting. Kate is having women experience the story and relationship in a complex female way. And it’s great to have full women out there while still staying true to lineage and story. So both can exist together.
Hamill contrasts Holmes’s & Watson’s different approaches to crime and brings the story into present day.
Holmes uses a magnifying glass while Watson is Googling. Holmes doesn’t keep any clutter in her mind and has an aversion to technology, the internet and cell phones. She keeps her mental microchip sharp so she can see clues and make deductions.
The play asks if a world filled with smartphones, search engines, blogs, hashtags and digital databases can outwit the sharpest mind. The answer is – it can’t.
All the contemporary stuff makes this story fun for all ages and Kate covers all the bases with nods to and references for Baby Boomers, Generation X, Millennials and Generation Z.
Holmes doesn’t cheat and loves the process of discovery. We live in a world where information is at our fingertips. My daughter likes to get answers immediately. I often encourage trips to the library and looking things up in physical books. Often in that process, you can discover other things.
How important is casting in creating the relationship? Can you comment on the casting?
Yeah, it came down to looking at actors who came into the room who were focused on the story and all these relationships.
Holmes and Watson are evolving with one another and our actors–Sarah Wolters as the highly eccentric Sherlock and Cheryl Daro as Joan Watson, who becomes Holmes’s skeptical partner in crime-solving—are incredible.
Rounding out the cast are Tamarra Graham and Brian Stanton tackling multiple roles, including Doyle favorites Mrs. Hudson, Inspector Lestrade and Irene Adler who gets to be sexy and dangerous.
The play requires much physically – and closeness among all characters.
When we were casting, we paired up different actresses who could go for it physically. They have to fight and jump all over each other. It’s been a great experience to see these two actresses come together and see what they can do. And it’s even more hysterical because our Holmes is six feet and Watson is five-two.
We’re using our actors to heighten the comedy. I think of Carol Burnett as our stylistic model. Her work as an actor and in her comedies and plays and films is so funny and so grounded.
There are also other forms of closeness where my training as an intimacy coordinator has come in handy.
How are you coping with the show’s fast pace and technical challenges?
From the get-go, Kate says it doesn’t have to be naturalistic and we have great designers who are meeting the creative challenges.
Prop designer Patty Briles has to deal with Doritos, a lot of blood, a human finger bone and even a Donald Trump mask. The set by Destiny Manewal has to toggle between apartments and even simulate a train station.
Costume designer Kim DeShazo has created looks for the characters using much Velcro, lots of hats and even nun’s habits.
The creative team also includes lighting designer Maren Taylor, sound designer Dave Mickey and hair and wigs designer Anthony Gagliardi.
It’s been a lot to take on and been daunting. But we just jumped in, and it’s been like playing in a big old sandbox.
Photo by Jordan Gohara
This is your first time directing at ICT.
I’ve been here as an actor (Don’t Dress For Dinner) and I love performing here. It’s such a beautiful space. So this is my first time, and it’s been fun to be on the other side and leading the charge.
I was recommended by a director I know and had a meeting with caryn desai [sic] ICT’s artistic director. She said welcome to season number 40.
Any contact with the playwright?
I read lots of interviews with her and I’m fascinated by her approach. With her work I always think: ‘That’s a cool way to tell the story and deal with serious topics.’ I have a 14-year-old daughter, and I want to make sure she knows whose shoulders she’s standing on, especially in the current climate.
The world premiere of this show was presented by the Kansas City Repertory Theatre in 2022. I grew up in Kansas City and performed at Kansas City Rep at age 10. So I feel with this play I’ve come full circle.
Do you prefer acting or directing and what’s next for you?
At this stage in my life though it’s nice to have an opportunity to lead. I’ve found it wonderful. It’s expanded me as a person.
I’ll never stop treading the boards. Acting is the love of my life. I just finished acting in My White Husband at Moving Art, I played a modern-day Helen of Troy and I’m working on a short series with writer Kevin Douglas.
International City Theatre is in the Long Beach Convention & Entertainment Center, 330 Seaside Way in Long Beach. Performances Friday, Oct. 17 through Sunday Nov. 2 are at 7:30 p.m., Thursday-Saturday and 2 p.m. on Sunday. Tickets are $56 and $59 for matinees. For tickets and information visit InternationalCityTheatre.org or call 562-436-4610.
Steve Simmons is an accomplished writer and editor who writes about a wide array of topics including entertainment. His successful experience at The Beverly Hills Courier and other publications set the stage for his blog. Contact Steve at steve.simmons0211@gmail.com or 626-788-6734.
