“People tend to notice a man with a wooden leg accompanied by a pygmy,” was just one of the many keen observations made by the iconic Sherlock Holmes this evening at Theatre Three.

In 1978 Paul Giovanni made his mark on Broadway with this show. A show he wrote, directed and designed led him to his first Tony Award nomination. A suspenseful, dark and at times even fun story opens in the far-off land of India during the years of English rule and occupation. Here we learn of cursed jewels and three men who enter into an ill-advised oath. An oath so dark and so secret that it contained no words – just the symbol of a crucifer to bind them to the memory.

Chuck Huber as Holmes

With the stage set, we find ourselves in the home of everyone’s favorite detective at 221-B Baker Street as he attempts to exorcise his demons by playing the violin. Failing miserably, he turns to his needle and cocaine. The role of Holmes is played admirably by Chuck Huber. He handles the eccentricities of being far above us in brilliance so well, I wonder if Chuck himself doesn’t often amaze his friends with his keen observations. As always we have Dr. Watson on hand to ground our genius detective and to provide a human element to the story. Austin Tindle plays the doctor convincingly. Refreshingly not as a bumbling fool as many choose, but as a competent man of character and integrity. Well done, Austin!

Irene St. Claire (Hilary Couch) had the challenge of playing the sole female part in the production. I didn’t feel as though she was owning her character for the majority of the show – but in the final scene, she demonstrated passion and truly came into her own as the show hit it’s climax.

Another memorable performance was provided by Gregory Lush playing the part of Major Alistair Ross. He had fun with his part, and we all loved the way he took over the stage whenever he was provided with the opportunity. Everyone playing opposite Gregory shone that much brighter when he shared the stage with him.

I must take a moment to point out what was to me the best part of the entire production. The set design by the director, Jeffrey Schmidt, was simply outstanding. Theatre in the round can often be a challenge, but Jeffrey won that battle. Using multiple tiers, moving set pieces controlled by hand cranked gears and grills through which smoke would come, Jeffrey created a wonderful world for his actors to explore. Brilliant. Accompanying this wonderful set design was perfect lighting designed by Amanda West and sound designed by Marco Salinas. The first comment I made to my friend who joined me for the show was how the mood was set the moment we walked into the theatre by the lighting. The trinity of light, sound and set design made this a memorable evening. Thank you!

When I arrived home this evening to write this review, I checked out the press packet and saw that this production was being re-imagined from the original by giving it a steampunk edge. In hindsight, I suppose I can see it – but as a fan of the steampunk genre, I didn’t get that impression during the show itself. One mystery that plagued me throughout the production concerned this strange red slash of color on the forehead of leading lady Irene St. Clair. At first, I thought it might have something to do with the crucifer of blood. But nothing was said. Then I concluded it must have been a last minute mistake backstage that couldn’t be corrected before she had to hit her mark. But then the mark stayed…scene, after scene. Then, mysteriously, and without any explanation or fanfare, the mark disappeared for the final scene of the show. I was baffled – and to be honest, a bit distracted by this red mark. Now that I see this tip of the hat to steampunk, I assume that was part of the feel. My suggestion? Hilary Couch is a lovely young woman. Don’t allow this visual mystery to distract from her performance.

What Sherlock Holmes story isn’t complete without plucky comic relief? Typically done by Watson, this time we had the perpetually in the dark Inspector Lestrade played by Jackie Cabe to thank for our laughs. His comic timing, fumbling investigative techniques and bouts of seasickness kept us all smiling when he hit the boards. A wonderful performance!

All in all, a fun show. Wonderful performances by the cast, a unique and enjoyable venue, and a light story that will not make you think to hard, but will keep you entertained! Be sure to support the arts and Theater Three by picking up your tickets for Sherlock Holmes in the Crucifer of Blood, running through September 5th.

Reviewed by ASSOCIATE THEATER CRITIC, Sten-Erik Armitage , THE COLUMN

“I’d rate it a 10″ were the first words out of my 10-year-old daughter’s mouth as we exited the Winspear Opera House after the opening night of Disney’s Beauty and the Beast (playing through July 25). Who am I to argue with her concise review?

Beauty and the Beast started life as the hit 1991 Disney film of the same name.

The move from screen to stage was effortlessly done with music by Alan Menken, lyrics by Howard Ashman and Tim Rice, and book by Linda Woolverton. With seven new songs for the stage production, Beauty proved to be a Broadway smash hit. Running from 1994 to 2007, it became Broadway’s sixth-longest running production in history.

Photo Credit - Peter Coombs

Rob Roth directs this fourth national tour with mixed results. I was amazed by the detail and beauty of the scenic design done by Stanley Meyer. Using limited stage space and impressive “set choreography,” they created a captivating opening number. In addition, the costumes throughout the show were of the highest quality. I would expect nothing less from a Disney production!

Need a break? Forgotten how to smile? Has the word, “Wow” disappeared from your repertoire? Then have I got a deal for you! Grapevine’s Runway Theatre will be presenting Once Upon a Mattress through August 1. I had the pleasure of being in the audience on opening night to see how director Andy Baldwin would handle the 50-year-old script.

This production was the Broadway debut of household name and one of America’s favorite funny ladies, Carol Burnett. She set the standard with her performance as Princess Winnifred the Woebegone. The script takes a satirical twist to the old tale, “The Princess and the Pea.” The kingdom is under a horrible law established by Queen Aggravain that states, “Throughout the land no one may wed, ’till Dauntless shares his wedding bed.” Dauntless (the Drab) is the coddled, spineless and, well … drab son of Aggravain and the mute King Sextimus.

Photo Courtesy of Runway Theater

This law has driven the kingdom to despair. There is truly an opening for a Princess here. The production picks up the tale with the 12th princess to be tested by the pesky Wizard under the manipulative auspices of the Queen. Princess #12 (Audrey Seifert) does quite well with the questions dealing with the history of St. George and the dragon … until the last question. Sadly, she was thwarted because she did not know the middle name of the daughter-in-law of the best friend of the blacksmith who forged the sword that killed the beast. Now that the stage is set, prepare to be introduced to the indefatigable Princess Winifred!