Following in the footsteps of Conan Doyle, I have chosen a
two-act play to be my next contribution to the ever-expanding canon (I’m
currently wrapping up my novel Irregular
Lives - coming out in the fall.). As is my style and custom, this new
project has begun with research. It would not be surprising, then, to learn
that my research began with the one Sherlock Holmes play that Doyle is credited with--entitled: Sherlock Holmes.
I italicized “credited” since this play is more the work of
actor William Gillette than Conan Doyle. American theatrical producer Charles
Frohman attempted to buy the rights from Conan Doyle. While Doyle
did not relinquish the rights, it did inspire him to write a five-act play
featuring Holmes and Professor Moriarty. As you can imagine, a
five-act play would have been tedious, and likely too elaborate to produce on
tour. Frohman’s feedback to Doyle included an observation that actor William
Gillette would make an ideal Holmes. Doyle followed up on Frohman’s suggestion,
and in the end, Gillette wrote what amounted to a new two-act play.
Holmesian fans would quickly recognized dialogue from the
play that was lifted straight from several of Doyle’s stories: A Scandal in
Bohemia, The Final Problem and A Study in
Scarlet.
The plot is a rather “plain vanilla Holmes tale” in which
Holmes is pitted against Moriarty. It involves helping a beautiful, young woman
who seeks to revenge on a royal personage who wronged her in a love affair
(think A Scandal in Bohemia). Her sister, who died of a broken heart had keep
letters and photos of a nobleman who now wants them back. Moriarty and his
gang, seeing a great opportunity for blackmail, attempt to steal the
incriminating evidence from the young woman.
The play opened in New York City
on November of 1899, and ran there for 260 performances across the U.S. It then moved to London's Lyceum Theatre in September 1901
where is ran for nearly 200 performances in various theaters in the UK.
Thereafter, it was revived, from time to time, by William Gillette over the
next decade.
It is well known by Holmes aficionados that, in the entire
60-story canon, Holmes never says: "Elementary,
my dear Watson,” however, it does appear in this play. This would explain the
persistence and popularity of what some might say is the most famous of
Holmes’s lines. It was also Gillette who introduced the famous curved
meerschaum pipe.
The two-act comedy Sherlock
Holmes is a quick read -- thank heaven. If I had to rate it today, I would
give it only two or three stars. From a plot standpoint, it does not measure up
to most of Doyle’s stories, and the dialogue is flat and predicable. All that
aside, it was the ending that caught me off-guard. Holmes, having only seen the
young heroin on two occasions (scenes) before the last scene, declares his love
to her in Watson’s company. The finals curtain falls with Holmes kissing his
new love “on the mouth.”
There are other Sherlock Holmes plays out there, and I will
undoubtedly read all of them. But at this early stage, I can only say that the
Doyle-Gillette play has inspired me to dive, wholeheartedly, into my new
project with the hope that I might do a better job of bringing Sherlock Holmes
to the stage.