Portland Presents Sherlock Holmes: The Final Adventure Playbill at Portland Stage

Written by Steven Dietz based on the original 1899 play by William Gillette & Sir Arthur Conan Doyle

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Program & Cover Design by Jennifer Roe, Wild Olive Multimedia

Aimée M. Petrin, Executive Director

Anita Stewart, Executive & Artistic Director

Eckart Preu,

by Jennifer Roe, Wild Olive Multimedia

Aimée M. Petrin, Executive Director

Anita Stewart, Executive & Artistic Director

Eckart Preu,

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Portland Stage is known for its role in cultivating new voices in theater and for creating a significant body of theatrical work that has gone on to success beyond our stage. By incubating new work and supporting writers, Portland Stage has established Maine as a place to launch original and compelling plays.

Since its debut in 1990, the Little Festival of the Unexpected (LFU) has established a tradition of nurturing artists, invigorating audiences, and exploring new voices, visions, and forms of theater. Past LFU scripts, include Almost, Maine (LFU 2003) and Papermaker (LFU 2014).

Playwrights Richard Blanco (photo by Craig Dilger) & Vanessa Garcia and their play Sweet Goats and Blueberry Señoritas, soon to be a Mainstage production this season. The play was selected to be a part of the 2022 Little Festival of the Unexpected, where it was performed virtually over Zoom for audiences.

Written by Richard Blanco & Vanessa Garcia

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This season is full of stories that come from the heart. Stories of family and friends, of caring, of finding new ways forward with humor and grace. You will meet a 5’5” Chinese basketball player intent on making the team; a Cuban American transplant to Maine making new friends and learning more about her roots in the process (a first play by poet Richard Blanco); a Black playwright, spinning stories and bringing to light a life in the theater; a baker concocting sweet ways to resurrect her marriage and make peace with another; Dr. Watson as he remembers the final adventure with his best friend Sherlock; and the entire town of Tuna, Texas.It will be fun, it will be moving, it will make you remember what it means to come together and share.

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Written by Steven Dietz based on the original 1899 play by William Gillette & Sir Arthur Conan Doyle

Why do we have such a fascination with the stories of Sherlock Holmes? For me, the sheer pleasure of watching a flawed genius find success using only his mind is a delightful reprieve from the complicated world in which we currently live. In the world that Holmes inhabits, there are clear villains—a right and a wrong—and although Holmes may employ some questionable tactics, we know that, in the end, all will be well. Today, as the unknowns of climate change, nuclear armageddon, inflation,

“Ultimately, it is through this collaboration that genius is allowed to flourish.”

recession, and the rise of authoritarianism swirl one after another through the daily headlines, it is a relief to escape into a different time and place where problems have solutions.

I’m also drawn in by the friendship in the stories. While Sherlock Holmes always gets his name on the marquee, his sidekick, Watson, is always there providing a yin to Sherlock’s yang. Watson is a caregiver: solid, steady, and not a person to take risks. Holmes is an entrepreneur: creative, reckless, and not in touch with his emotions. Watson keeps Holmes from flying off to extremes that would be scary and unmanageable, and Holmes pushes Watson to act beyond his comfort zone, allowing him to reach his full potential. Ultimately, it is through this collaboration that genius is allowed to flourish.

In Sherlock Holmes: The Final Adventure, Steven Dietz purposefully uses theatrical devices to bring us into a world of shape-shifting characters. Just as Holmes lays out the brilliance of his deductions, Dietz asks that we use simple theater “magic” to carry the audience through the story. Much as when you read the word on the page, we give you a sketch, and your imagination fills in the details.

I hope you enjoy the puzzle and find your own way to escape the world, if only for a moment.

Anita Stewart, Artistic Director

Dietz’s thirty-plus plays and adaptations have been seen at over one hundred regional theaters in the United States, as well as Off-Broadway. International productions have been seen in over twenty countries and his work has been translated into ten languages. Recent world premieres include Bloomsday (2016 Steinberg New Play Award Citation); This Random World (40th Humana Festival of New American Plays); and On Clover Road (NNPN “rolling world premiere”). Other recent work includes Rancho Mirage (Edgerton New Play Award), The Shimmering, and American La Ronde. His two-theater commission of companion plays for adult and young audiences—The Great Beyond and The Ghost of Splinter Cove—premiered in 2019. A two-time winner of the Kennedy Center Fund for New American Plays Award (Fiction, Still Life With Iris), Dietz is also a two-time finalist for the American Theatre Critics Steinberg New Play Award (Last of the Boys, Becky’s New Car). He received the PEN USA West Award in Drama for Lonely Planet, and the 2007 Edgar Award® for Drama for Sherlock Holmes: The Final Adventure. Other widely produced plays and adaptations include Yankee Tavern, Jackie & Me, Shooting Star, Dracula, Inventing Van Gogh, God’s Country, Private Eyes, and The Nina Variations. Dietz taught in the graduate playwriting and directing program at UT/Austin for twelve years, and continues to work as a Dramatists Guild “Traveling Master,” offering workshops and master classes around the country.

Sir Arthur Conan Doyle was born on May 22, 1859, in Edinburgh, Scotland. The son of Irish Catholic parents, Doyle was educated by Jesuits in both Austria and England. He went on to attend Stonyhurst College and the University of Edinburgh where, in 1881, he received his degree in medicine. After graduation, he gained employment as ship’s surgeon on a whaling ship destined for the Arctic. When he returned, he settled in Southsea, England, where he practiced medicine from 1882 to 1890. In 1887, Doyle’s now-famous sleuth, Sherlock Holmes, was introduced in a lackluster short story titled A Study in Scarlet. Doyle had fashioned the private investigator on a professor he’d had during his days at University, Dr. Joseph Bell. Bell, however, consistently denied being an inspiration for the character. Despite the first story’s poor showing, Doyle was convinced to continue the series. He wrote the novelette The Sign of Four and completed twenty-four short stories under the titles The Adventures of Sherlock Holmes and The Memoirs of Sherlock Holmes. Each of the short stories was published in The Strand Magazine. Despite the tepid response to his first story, the subsequent tales of Sherlock Holmes gained popularity very quickly. They became so popular, in fact, that Doyle gave up his medical practice to devote all his efforts to writing. After about five years of writing the Sherlock Holmes stories, Doyle began to tire of the work. As a solution, he published “The Final Problem,” which described the death of Sherlock Holmes. The Strand Magazine’s readers were outraged but could do nothing. It was not until ten years later that Doyle, in a reconciliatory gesture, proclaimed that the word of Holmes’s demise was greatly exaggerated, and he produced another series of short stories for The Strand Magazine. In total, the Sherlock Holmes series included fifty-six short stories, and four novelettes. After his final stories of Sherlock Holmes, Doyle returned to medicine. He served as a physician in the Boer War and when he returned to England, wrote three books. Together they detailed his experiences in the war and justified England’s involvement.

For his public support of England, he was knighted in 1902. Doyle continued to write, but after his son was killed in battle during World War I, his writings turned to more existentialist topics. He turned from Catholicism to spiritualism in an attempt to heal the pain he felt at the loss of his son. While Doyle is primarily known for the creation of the famous sleuth and his sidekick, Dr. Watson, Doyle also wrote a historical romance titled Micah Clarke in 1896. His final work was an autobiography, published in 1924, titled Memories and Adventures. Doyle passed away on July 7, 1930, in Crowborough, Sussex, England.

William Gillette was an American actor, playwright, and stage manager in the late nineteenth and early twentieth centuries, and is best remembered today for portraying Sherlock Holmes. Gillette’s most significant contributions to the theater were in devising realistic stage settings and special sound and lighting effects, and, as an actor, in putting forth what he called “The Illusion of the First Time.” Born in the era of melodrama, with its grand gestures and sonorous declamations, he created in his plays characters that talked and acted the way people talk and act in real life. His first play, The Professor, written by, directed, and starring William Gillette, opened at the Madison Square Theatre, then ran for 151 performances and toured as far west as St. Louis. During the run of The Professor, Gillette collaborated with Frances Hodgson on Esmeralda, which ran for nearly one year. In 1884, Gillette adapted from the German, directed, and starred in The Private Secretary, based on Gustav von Moser’s Der Bibliothekar. In 1886, Gillette wrote what is regarded as the first important drama on the Civil War: Held by the Enemy. In 1895, Gillette wrote another Civil War spy story, Secret Service, which ran for over a year. On Broadway, Gillette played the leading role. In 1899, Gillette adapted Sherlock Holmes for Broadway. Many of the characteristics of the great detective which we still associate with him were created by Gillette, not Conan Doyle. The London cast included a twelve-yearold Charlie Chaplin. He created a number of starring roles in plays by James M. Barrie, including The Admirable Crichton (1903) and Dear Brutus (1918) with a young Helen Hayes. In 1913, Gillette delivered a famous address called “The Illusion of the First Time in Acting” to the American Academy of Arts and Letters.

KEVIN R. FREE, DIRECTOR

Kevin R. Free is so excited to return to Portland Stage! He is a multidisciplinary artist whose work as an actor, writer, director, and producer has been showcased and developed in many places, including FringeNYC; National Black Theatre; The New Black Fest; The Moth Radio Hour; Project Y Theatre; Flux Theatre Ensemble; the Queerly Festival; and The Fire This Time Festival, where he served as Producing Artistic Director for five years, winning an Obie for his work in 2015. He is also an accomplished voice actor, having voiced over 400 audiobooks and creating the voice of Kevin from Desert Bluffs on the popular podcast Welcome to Night Vale. Recent directing credits include the world premiere of Last Ship to Proxima Centauri, Lady Day at Emerson’s Bar & Grill, and Where We Stand, all at Portland Stage; Wendy and the Neckbeards at Colby College; Pass Over at Marin Theatre Company; and Berta, Berta, Berta, and Pipeline and The Burdens at Mile Square Theatre, where he is now the Artistic Director. More info at kevinrfree.com and on Twitter and IG @kevinrfree

Ezra Barnes (Sherlock Holmes) is happy to be making his Portland Stage debut. Off-Broadway appearances include Breakfast With Mugabe (a NY Times Critics’ Pick nominated for Best Play by the Off Broadway Alliance), Atticus in To Kill a Mockingbird (Queens Theatre in the Park), In White America (New Federal), and Far and Wide (Mint). Currently he can be seen on the hit YouTube series Group, an innovative show about a therapy group. Regional appearances: McCarter, Geva, Hartford Stage, Cincinnati Playhouse, Denver Center, Pioneer, Paper Mill. TV: New Amsterdam, Jessica Jones, Orange is the New Black, The Sinner, Bored to Death, Law & Order, SVU. Film: Motherless Brooklyn, Unintended, Noah, Joshua, Once More With Feeling. Ezra was awarded the Connecticut Critics Circle Award for Outstanding Direction for his production of Diary of Anne Frank at Playhouse on Park. He is the Founding Artistic Director of Connecticut’s Shakespeare on the Sound festival and led the company from 1996-2008. A Brooklyn resident, where he runs the Young Actors Workshop, Ezra thanks About Artists Agency, Kirsten, and his family (now far and wide themselves) for their support, with a particular nod to his mom, who gave him The Annotated Sherlock Holmes, Vols 1 & 2, when he was a lad. Instagram: @ezra_barnes

Brian Lee Huynh (Dr. Watson) has appeared in War Horse (Lincoln Center Theater) on Broadway. His Off- Broadway credits include A Clockwork Orange (New World Stages) and The Light Years (Playwrights Horizons). Regional credits include Pride and Prejudice (Long Wharf Theatre); Rosencrantz & Guildenstern Are Dead (Huntington); The Engagement Party (Hartford Stage); Vietgone (Denver Center for the Performing Arts); The 39 Steps (Triad Stage); Auctioning the Ainsleys and A Single Shard (People’s Light). Television credits include appearances on Instinct, Gotham, Madam Secretary, and

CAST BIOGRAPHIES

Elementary. Mr. Huynh holds a BFA from Ithaca College and an MFA from The Old Globe/University of San Diego. Brian was born in Portland, ME, and lived on Munjoy Hill until moving and graduating from Gorham High School.

Tom Ford (Professor Moriarty) Portland Stage: Last Ship to Proxima Centauri, A Christmas Carol, Read to Me, Greater Tuna, Bach at Leipzig, The Mystery of Irma Vep, I Am My Own Wife, The Snow Queen, Iron Kisses, The Woman in Black, Lend Me a Tenor, Art, and Gaslight. Boise Contemporary Theater: The Show on the Roof (world premiere of a new musical, book by Tom Ford, music and lyrics by Alex Syiek), Lewiston, Tru, and This Wonderful Life. Northern Stage: It’s a Wonderful Life: A Radio Play and Miss Trunchbull in Matilda. Idaho Shakespeare and Great Lakes Theater: Henry Higgins in My Fair Lady, Frollo in The Hunchback of Notre Dame, Wargrave in And Then There Were None, the Fool in King Lear, Sidney Bruhl in Deathtrap, Sweeney in Sweeney Todd, Thenardier in Les Miserables, Argan in The Imaginary Invalid, Mr. Paravicini in The Mousetrap, Baker in Into the Woods, Pseudolus in A Funny Thing Happened..., and the title role in You’re a Good Man, Charlie Brown. New London Barn Playhouse: The Odd Couple, The Man Who Came to Dinner, The Drowsy Chaperone, A Funny Thing Happened..., Hairspray, Harvey, The Pirates of Penzance, The Producers, and She Loves Me. Broadway: By Jeeves. tomfordactor.com Nicholas Mongiardo-Cooper (The King of Bohemia) has appeared Off-Broadway in Rothschild & Sons, Lonesome Traveler, and Julius Caesar. Regional appearances include A Wicked Soul in Cherry Hill (Geffen); Once (Geva); Rounding Third (FST); House of Dreams (SDRep); Matilda (5Star); Sweeney Todd, Once, Shakespeare in Love (South Coast Rep); King Lear (Rubicon); Harvey, End of the

Rainbow (Laguna); Our Lady of 121st St. (Redhouse); A Midsummer Night’s Dream (SBCCLO); Side Show (La Jolla); Of Mice and Men, Side By Side By Sondheim, Sherlock Holmes, Laughter on the 23rd Floor, Words By: Ira Gershwin (NCRT), as well as performing Words here at Portland Stage. His TV credits include Ghosts (CBS), The Conners (ABC), The Fairly Oddparents (Paramount+), Danger Force (Nickelodeon), Fuller House (Netflix, WB), Superstore (NBCUniversal), and Casual (Hulu). He attended LaGuardia HS and received a BFA from NYU. He is a proud Equity member. nicholasmongiardocooper.com

Isabelle Van Vleet (Irene Adler) is a California native currently residing in Maine. Favorite New York theater credits include Sign (Off-Broadway), ASAP Live (Barclays Center), Honor the Musical (Prospect Theater Co.), The Rules (Joust Theatre Co.), Spring Awakening (NYU Tisch/Atlantic).

Television: Inventing Anna (Netflix/Shonda Rhimes), The Making of Peter Pan Live (NBC). She is forever grateful to Anita, Jenn, and Kevin for this opportunity. Heartfelt thanks to my manager Deborah at AAG Talent, my wonderful husband Alessandro, mom, dad, and rescue dog Mika for their endless love and support! Proud member of SAG-AFTRA, AEA, and NYU Tisch Alum.

Michael Grew (James Larrabee) is thrilled to be making his Portland Stage debut, in the town he newly calls home! A lover of new play development, Michael is a lifetime member artist of New York City’s celebrated Ensemble Studio Theatre. He has also performed with the Shakespeare Theatre (Mrs. Warren’s Profession), Signature Theatre (Les Miserables), Kennedy Center (The Brand New Kid ), and Folger Theatre ( As You Like It). On TV, Michael was recently seen leading an episode of the History Channel’s The Food That Built America.

CAST

Eternal gratitude and love to wife Kel. www.michaelgrew.com

Laura Darrell (Madge Larrabee) Portland Stage: Last Five Years (Cathy), A Christmas Carol (Ghost of Xmas Past, Martha). PSO: Soloist at Magic of Christmas (2000, 2005, 2021). OffBroadway/New York (Selected): Sweeney Todd (Johanna/Pirelli/Beggar Woman standby, Barrow Street Theatre); Kid Victory (Suze, Vineyard Theatre, official cast album released); Encores! The Golden Apple (Ensemble, NY City Center). Regional: Macbeth (Lady Macduff, Alabama Shakespeare Festival), Into the Woods (Cinderella, Hudson Valley Shakespeare Festival), Fun Home (Medium Alison, Baltimore Center Stage), as well productions at Signature Theatre (DC), LA Rock Opera Co., among others. Disney: Originated the role of Anna in Frozen Live at DCA, directed by Liesl Tommy. Workshops: Classic Stage Company, The Barrow Group, New York Theatre Workshop, The York Theatre, EST, and Asolo Rep. Select Film: Boston Strangler (Karen, dir. Matt Ruskin, 20th Century Studios/Hulu), Heightened (Tiffany, dir. Sara Friedman). Creedmoria (Eileen, dir. Alicia Slimmer). TV: Happy! (Sister Lee/recurring, SYFY); Dietland (Anna/ recurring, AMC); A Very Special Christmas (mPBS, nominated for N.E. Emmy Award). Sketch/Improv: UCB. Undergrad: USC (LA), NYU Tisch, and BADA (UK). www.lauradarrell.com. Instagram: @lauraedarrell. Love to L, J, K, & M. Special thanks to manager, Rochel Saks. Proud Mainer.

Zion Jang (Sid Prince) Thank you, Portland Stage, for saying yes. Thank you, Judy, Jenna, and Katie. Y’all rock. Thank you, Kaelyn. You’re fire. Thank you 엄엄, 엄엄, , and Danny. I love you. Training: UNCSA. IG/Twitter/Tiktok: @zeejster

Anita Stewart (Scenic Designer) has worked as a set and costume designer at leading theaters across the country, including the Guthrie, Seattle Rep, Canadian Opera Company, Minnesota Opera, A.R.T., Steppenwolf, Hartford Stage, Dallas Theater Center, Long Wharf Theatre, New York Theatre Workshop, Boise Contemporary Theater, New Jersey Shakespeare, and Portland Stage. Anita’s desire to play a meaningful role as an artist in a specific community brought her to Portland Stage as Artistic Director, a company for which she had previously done significant freelance design. Anita holds an MFA in design from the Yale School of Drama.

Shireen Unvala

formerly

and

intern,

credits include The Burdens (Mile

Theatre), Mary Jane (Meadow Brook Theatre),

and Nana Does Vegas (Meadow Brook Theatre). BA Costume Design/ Technology, Greensboro College. Licensed Cosmetologist (NJ). Currently a dresser for Hamilton on Broadway and a stitcher for Wicked on Broadway. Weston Wilkerson (Lighting Designer) is joining Portland Stage for the first time. Weston’s design credits include Stages: Hook’s Tale (world premiere), Miracle on 34th Street: A Live Musical Radio Play, Sex With Strangers; TheatreSquared: Matilda, Miss Bennet: Christmas at Pemberley, Look Away ; Lyric Theatre of Oklahoma: A Christmas Carol, Crowns, An Inspector Calls; Alabama Shakespeare Festival: The Little Mermaid; Theatre By The Sea: Forever Plaid, Drowsy Chaperone, The Full Monty, Crazy for You; Ocean State Theatre Company: Winter Wonderettes, The Santaland Diaries, Race, Fools, Rent, The King and I, Legally Blonde; City Theatre: Young Playwrights Festival. Commercial/ TV: Indy Racing League, NASCAR, ESPN/ABC, Miss Mississippi Scholarship Competition, PricewaterhouseCoopers, Royal Dutch Shell, College Gameday, Trackside Live, HBO Boxing, Fox Sports. Music: Joan Jett and the Blackhearts, Big Daddy Weave, Air Supply, Charlie Daniels, Lifehouse, Los Lonely Boys. Originally from the small town of Justin, Texas, Weston now lives in Fayetteville, Arkansas, with his wife Kim Powers and their son Haakon. He is a teacher at the University of Arkansas where he previously collaborated with director Kevin R. Free on a production of Topdog/Underdog. Seth Asa Sengel (Sound Designer) is a lifelong listener and tinkerer from South Parsonsfield, and a graduate of Waynflete School (‘93). He recently collaborated with The Fulton Theatre for the productions Jacob Marley’s Christmas Carol, Changing Channels, and Sweat; and with Cortland Repertory Theatre for Murder on the Orient Express, The Complete Works of William Shakespeare ( Abridged ), and A Midsummer Night’s Dream. Seth loves creating with Portland Stage, where he has designed Last Ship to Proxima Centauri, Where We Stand, A Christmas Carol (2020), Talley’s Folly, Native Gardens, The Last Five Years, The HalfLight, The Importance of Being Earnest, Sex and Other Disturbances,

The Haunting Hour, Buyer & Cellar, Dancing at Lughnasa, Souvenir, The Savannah Disputation, Tribes, Words By, Wittenberg, A Song at Twilight, Heroes, and Collected Stories. For more info about Seth, please visit www.sethasa.com. Please be good to yourself, and to each other, and let people know that you love them. Much Love to Mary Lana, Hazel, and Boo.

Meg Lydon (Stage Manager) is thrilled to join the production team for another season at Portland Stage! She has loved getting to know the theater community here in Portland; recent work has been at Fenix Theatre Company, Good Theater, Dramatic Repertory Company, and Bates and Bowdoin Colleges. She also loves to spend summers at Chester Theatre Company in the Berkshires. Meg is a proud member of AEA and is forever grateful to Darren. Many thanks to the cast and production team – here’s to a great show!

Jenn Haltman (Casting Director) is a freelance theater, film, and new media casting director and is thrilled to be returning for her fifth season with Portland Stage. Previous PSC shows include Sabina, Perseverance, Native Gardens, Babette’s Feast, and The Last Five Years. Regional theaters include Pig Iron Theatre Company, Hartford Stage, Gloucester Stage, Virginia Stage Company, and Sharon Playhouse. Films include Boy Meets Girl (dir. Eric Schaeffer), the award-winning shorts “Behind the Wall” (dir. Bat-Sheva Guez) and “Someone Will Assist You Shortly” (dir. Jon Levenson), and the 2017 Sundance selection “Madeline’s Madeline” (Josephine Decker). As Co-Producing Artistic Director of Between Two Boroughs Productions, Jenn has cast and directed Cannibal Galaxy: a love story, Summertime, The Understudy, and most recently Trich. Previously, Jenn was the Casting Associate at New York Theatre Workshop (shows include Peter and the Starcatcher, Little Foxes, Aftermath) and worked with Page 73 Productions and Soho Rep. She is a proud graduate of Muhlenberg College. www. jennhaltman.com

LAND & SLAVERY ACKNOWLEDGMENT

We are gathered on the unceded land of the Aucocisco and Abenaki peoples of the Wabanaki Confederacy. Portland Stage asks you to join us in acknowledging the Wabanaki community, their elders both past and present, as well as future generations. Portland Stage also acknowledges that it was founded upon exclusions and erasures of many Indigenous peoples, including those on whose land this institution is located. This acknowledgment demonstrates a commitment to beginning the process of working to dismantle the ongoing legacies of settler colonialism through our work at Portland Stage.

We encourage you to learn more about the peoples who stewarded the land that you now reside on whether you're from here in Portland or are visiting from away. For more information about the Wabanaki Confederacy, visit mainewabanakireach. org, and to find out whose land you are on, visit native-land.ca.

We also want to acknowledge that the history of Maine is deeply connected to the institution of slavery in the United States, and that residents of Maine participated in both slavery and the transatlantic slave trade even after slavery was outlawed in the District of Maine. While it may be easy to think of Maine and more specifically Portland as a very White place, we recognize that this is simply not the case and we are working to dismantle these harmful ideas. We encourage our audiences to visit the Abyssinian Meeting House (learn more at abyssinianmeetinghouse.org) or the Eastern Cemetery here in Portland, and to explore scholarship on the subject, like Lives of Consequence by Patricia Q. Wall, to learn more about this oftneglected part of Maine’s history.

We recognize that the American Theater has also exploited, misrepresented, and excluded communities of Latine, Asian, Indigenous, and Middle Eastern descent for centuries. Portland Stage is recommitting to telling authentic stories from diverse backgrounds that all of our audiences can experience and enjoy.

By Rachel Ropella

While we best remember the stories Sir Arthur Conan Doyle wrote about the adventures of Holmes and Dr. Watson, did you know that Doyle helped solve mysteries in real life? It’s true! The first case Sir Arthur Conan Doyle solved was in 1906. British-Indian citizen George Edalji was in prison after being accused for the crime of animal cruelty in a small town in Staffordshire, England. He had written to Doyle, asking the author to help prove his innocence. Doyle expressed suspicions that there was racial prejudice at play, as well as a lack of evidence from the local police, and decided to meet the man. After meeting Edalji for the first time, Doyle wrote that, “I had been delayed and he was passing the time by reading the paper.... He held the paper so close to his eyes and rather sideways, proving not only a high degree of myopia but marked astigmatism. The idea of such a man scouring fields at night and assaulting cattle while avoiding the watching police was ludicrous to anyone.”

The second case in which Sir Arthur Conan Doyle was involved was with a man named Oscar Slater. In 1908, Slater had been wrongly convicted of the robbery and murder of a Scottish spinster, Marion Gilchrist. A brooch had been stolen during the robbery that looked similar to a brooch Slater was trying to pawn in town that following week. The police soon realized that it was an entirely different brooch and a false lead, but despite the contradictory evidence and the alibi Slater gave, he was still put to trial and wrongfully convicted. Eventually, Oscar Slater was freed and pardoned through the efforts of multiple journalists, lawyers, and writers, including Doyle, but it took until 1927 to finally have the investigation reopened. Although Sir Arthur Conan Doyle never took on another case in real life, his passion about crime and the pursuit of justice has left a lasting legacy.

SIR ARTHUR CONAN DOYLE: A SLEUTH IN HIS OWN RIGHT?

GILLETTE AND THE MAKING OF HO(L)ME(S)

By Moira O’Sullivan

When we think of Sherlock Holmes, a specific image comes to mind: a deerstalker hat, a long cloak, and a curved pipe. However, this iconic image is never actually described in Sir Arthur Conan Doyle’s work. In fact, its roots are in the theater, stemming from the mind of William Gillette, the first actor to ever play Holmes and the co-writer of the first stage adaptation in 1899.

The fruitful collaboration between Gillette and Doyle dates back to 1897. Having written “The Adventure of the Final Problem” and ending the Sherlock series (or so he thought), Doyle was looking for a way to make some money and decided to write a play depicting his famous sleuth. He was then introduced to Gillette, who was performing in a play on the West End and seemed like the perfect person to bring Holmes to life. Gillette took on the project and wrote his play, entitled simply Sherlock Holmes. It premiered at the Star Theater in Buffalo, NY in October, 1899.

Gillette’s take on the character was a bit more arrogant and callous than in the books, and along with the costume we now know so well, he chose to use a curved pipe prop instead of the straight pipe mentioned in the books. Known for his conversational acting style, he was also responsible for writing Sherlock’s famous line to Watson, “Oh, this is elementary, my dear fellow,” which led to the first film adaptation’s version of the line, “Elementary, my dear Watson.” The phrase never actually appears in any of Doyle’s writing. Doyle was so pleased with Gillette’s work that they continued to collaborate, and he even used Gillette’s Holmes as the inspiration for the illustrations that accompanied his second round of writings beginning in 1901.

SOLVING THE MYSTERY OF DIRECTING WITH KEVIN R. FREE

Edited for length and clarity by Audrey Erickson

Directing and Dramaturgy Apprentice Audrey Erickson spoke with the director of Sherlock Holmes: The Final Adventure, Kevin R. Free, during the first week of rehearsals about the challenges and exciting opportunities of staging the story of everyone’s favorite detective.

Audrey Erickson (AE): Were you a Sherlock Holmes fan before starting this process? What was your process into the play?

Kevin R. Free (KRF): I love Sherlock Holmes, and I’ve been reading stories and listening to podcasts and enjoying that, but also I’ve been watching that Sherlock, the BBC Sherlock. I just love it so, so much. And it has helped to inform me with this production, because I feel like, everybody thinks they’re a genius somehow, right? And that’s what this play is about, every single character thinks that they are some kind of genius. I think Watson is the only one that doesn’t think he’s a genius. And while our Watson is not a bumbling idiot, our Watson is a person who supports Sherlock, is looking at Sherlock. And we’re going to look at places where Watson can be in the same place we are, in terms of watching the play. There are all these places that Sherlock makes these pronouncements about women, that [are] just sort of like, yes, they’re sexist, but they really come more out of his lack of experience. And so he just says these things. And so I’m trying to figure out ways where we can, as we’re watching, that Watson can look at us and be like, “This guy. This dude. He knows nothing about women!”

AE: There are so many different collaborators in Sherlock Holmes, and the show has a lot of moving pieces. As a director, how do you see your role in bringing that all together?

KRF: It’s really important to me, and this is for pre-COVID and post-COVID, that my vision of the piece not get in the way, one, of the piece itself, and two, of the ways the actors want to create the world. It’s also important for me to not allow the things that they want to create in the world to “mess up” the world that we’re all trying to create

together. Mess up is a terrible expression. So what I mean is, I have to be very clear about what the vision of the piece is, so that when people are adding things to the vision, to the piece, it fits in the vision. And how do I justify it? If it’s not quite in the vision, how do we work it so that it really fits? I hope that answers your question.

AE: For you, what is the most exciting challenge of this play?

KRF: I think the biggest challenge is handling these large story arcs in this play, and honoring all the little details of those big story arcs. I’m really good at having a vision and flying above everything and looking down on it, and I am less good at details. And so I am excited, because this is our week for really breaking [the play] down and taking little bites out of it. To find what’s what and what’s not what with this play, and what doesn’t work with what I was thinking, you know? Like there are things that I thought would work that are not going to work, and I know that now. So the greatest challenge for me is looking at the details to make sure that they fit into the wider story arcs of the play.

THANK YOU TO OUR SPONSORS

MIGIS HOTEL GROUP: PLATINUM SHOW SPONSOR Like Portland Stage, Migis Hotel Group creates exceptional experiences for their patrons to immerse themselves in. They are dedicated to creating an unparalleled world of relaxation, recreation, and welcome. From the windswept front deck of the Black Point Inn, to the classic wooded beauty of Migis Lodge, these remarkable hotels and inns are a perfect setting for a romantic getaway, special event, or family reunion.

Thanks to the longstanding support of Migis Hotel Group, Portland Stage is able to bring Sherlock Holmes: The Final Adventure to life on our Mainstage and online.

W.H. DEMMONS: TAKE A BREATH SPONSOR SUPPORTING AIR PURIFICATION AND AIR QUALITY

A very special thank you to W.H. Demmons for supporting our public safety! The HVAC system installed by W.H. Demmons utilizes bipolar ionization technology, which releases charged atoms that attach to and deactivate harmful substances like bacteria, mold, allergens, and viruses by pulling the hydrogen atom away, causing the harmful substances to die. Testing of the building’s system for effectiveness against the COVID-19 virus by two different independent laboratories, Analytical Lab Group and Innovative Bioanalysis, revealed that the level of the virus would be cut by 90% within 60 minutes.

Our corporate partners help us to enrich our community, while positioning their companies as cultural leaders. Want to learn more about how a corporate partnership can benefit both your business and the theater you love? Contact Beth Given, Development Director, at 207.774.1043 x109.

Sherlock Holmes: The Final Adventure is funded in part by a grant from the Maine Arts Commission, an independent state agency supported by the National Endowment for the Arts. Generous support also provided by the National Endowment for the Arts, the Maine Theater Fund/Maine Community Foundation, and the Shubert Foundation.

EXECUTIVE

Edwin F. Gamble Bequest Susie Konkel

The Shubert Foundation Anna Marie & John E. Thron Fund of the Maine Community Foundation U.S. Small Business Administration

PRODUCER

Brooks Family Foundation

East Point Fund of the Maine Community Foundation, Gordon Russell Harry W. Konkel

The Onion Foundation

EXECUTIVE

Anonymous George & Cheryl Higgins Libra Foundation Maine Arts Commission Morton-Kelly Charitable Trust

MANAGING

Anonymous

L.L.Bean Migis Hotel Group

The Moser Family Foundation Carole Ann Palmer

The Virginia Hodgkin Somers Foundation Wright-Ryan Homes DIRECTOR ($5,000 - $9,999)

Anonymous

Dan & Joan Amory Francis Hollis Brain Foundation Susan & James Carter Patricia A. Clark

Edward H. Daveis Benevolent Fund Fisher Charitable Foundation Ed & Jan Gerry Paul & Karen Goodman Roy A. Hunt Foundation Maine Theater Fund Moriah Moser & Dan Morgenstern, MD Leonard & Nancy Nemon

The Parsons Family Foundation Kenneth Spirer & Joan Leitzer Nelson & Lisa Toner WEX

PRODUCTION MANAGER

($2,500 -

Anonymous

Nancy J. Aldrich Lisa Hertz Apkon

Mauria Brough & Bryon Winn Margaret E. Burnham Charitable Trust Custom Float Services

Carol De Tine & Roger F. Woodman, Jr.

Diversified Communications

Karen & Fredric Farber Ron & Donna Forest

The Robert & Dorothy Goldberg Charitable Foundation William Holtzman

Jamie & Beth Kilbreth

Helen & George Ladd Charitable Corporation

Darrell Pardy & Carolyn Hughes

Pierce Atwood

The Alfred M. Senter Fund

Kenneth Spirer & Joan Leitzer Anne Wade & Gil Hagan

Ashley Wernher-Collins & Scott Collins

BACKER

Anonymous (2) Apple Lane Foundation Gunard Erik Bergman Brown Dog Carriers

Chadwick-Loher Foundation

Emily Y. Chew & Robert Murphy

Debra L. Coyman Beth De Tine

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Gary E. Duford & Thomas L. Hinkle

Elizabeth Ehrenfeld

Charlotte Fullam

Bob & Marge Healing

Steve & Carolyn Jenks David & Lynn Jourdan Sara Kingdon & Dmitry Opolinsky

The Performing Arts Fund of the Maine Community Foundation Daniel Marra & Barbara Leonard Brian McNiff & Heather McCargo Irv Meeker

Sara Murphy & Peter Wetzel

Ann & Ted Noyes

Carson Pease & Sandy Evans

Ralph T. Perry & Mary Louise Seldenfleur

Richard & Carolyn Peterson Malcolm & Patti Poole

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INVESTOR ($500 - $999)

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A Friend

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SUPPORTER

Anonymous

Alice M. Abbott

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William C. Arnold Atlantic Sportswear, Inc.

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Broadturn Farm

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& Thomas Eldon Anderson

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ANNUAL FUND SUPPORTERS

Donald J. Rudalevige

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Jeff & Susan Saffer Gwen & James Sartoris Robert Scribner & Clair Julian Rick & Celeste Shinay Kathy Silvia Hugh & Mary Smith Mary Snell & Irwin Novak Betty & Barry Stallman Jane & Nate Stevens David & Kathleen Stuchine Linden Thigpen

Thomaston Place Auction Galleries, Inc. Adam R. Travis

Two Fat Cats Bakery Cheslye & John Ventimiglia Nancy R. Wade Randall Weill & Catherine Coughlin Robin & Les Wilkinson David & Gail Witherill Anne B. Zill

FRIEND ($100 - $249)

Anonymous

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Richard O’Meara & Christine Bulsa-O’Meara

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Richard & Carole Palmer

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Bonnie Nelson Schwartz & Arlie Schardt in honor of Martin Lodish Mike & Pam Schwotzer

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Betty Bricker-Small & David Small Kevin Smith & Michelle Cacho-Negrete Sarah Smith

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HONORARY GIFTS ($250+)

Walt Dunlap in honor of Michael Rafkin

Elizabeth & David Margolis-Pineo in memory of Libby Zerner Kathleen Stevens in memory of Morgan Wakelin

Portland