By Ilana Jael
As fitting as it would be to start off this review with all the suspense of a detective tale, evaluating the plentiful evidence I amassed in investigating the theatrical “case” of Baker Street Beginnings doesn’t actually demand that I solve much of a mystery.
So I guess I’ll kick things off instead by offering a fairly straightforward verdict to any prospective audience members: this delightfully spirited reimagining of Sherlock Holmes’ origin story struck me as an overwhelming success.
Ultimately, many elements of Florida Atlantic University Theatre Lab’s world premiere production of Beginnings played a part in making this show one that leaves an unusually vivid impression. But I believe that the key factor in achieving that success is perhaps the most obvious one: Miami playwright Gina Montét’s smartly crafted script for the work, which was specifically commissioned by Theatre Lab to serve as the company’s Heckscher Theatre for Families Production this season.
Designed to engage “the imaginations of audiences of all ages,” the impact of these productions is augmented by the Lab’s Future Pages Project, an extensive educational outreach program that provides free writing workshops and field trips to the show to over a thousand local students yearly.
Because of this, one could be forgiven for mistaking the deliberately family-friendly show for one that only holds appeal for younger audiences — but even more so than previous Heckscher productions I had the pleasure of attending, this one didn’t feel so simplistic as to risk alienating older viewers.
Instead, it felt in many ways much like your average Sherlock Holmes story, the twist being that the main character is actually not the famous detective but the young doctor in training who would eventually go on to create him — Arthur Conan Doyle.
Using real details from Doyle’s background and life, Montét imagines a compelling hypothetical backstory that forces him to discover his own detective skills in the case of a patient who presents with symptoms of poisoning. When it becomes clear that she is likely not the only one being targeted, the clock starts ticking, setting Doyle on an action-packed quest through late-1800s London that puts him in contact with a plethora of well-drawn and vibrant characters along the way.
Actor Jonathan White anchors the show with a fairly grounded portrayal of Doyle, and Clare Bawarski makes spunky heroine Emmeline easy for audiences to root for. But it’s the remaining four members of the ensemble who actually look to be having the most fun in quirkier character roles — Doriyan Caty repeatedly got big laughs with bold comic gestures as horror-obsessed Bram, and Daniel Llaca, Paige Rogers, and Gustavo Garcia each get the chance to play several different roles.
Rogers excels in creating two pivotal characters who have very different energies despite their shared over-the-top intensity, and Garcia gets some of the play’s best comedic moments in his physical commitment to various bits. Director Matt Stabile ensures that the energy stays high and pace stays brisk throughout, keeping the action dynamic enough to secure our attention effortlessly.
Intricate lighting design by Eric Nelson makes for some striking moments that enhance the eerie themes of the show, as does Matt Corey’s sound design. Costumes by Dawn Shamburger, properties designed by Aubrey Rodriguez and projections designed by Manny Zaldivar add additional detail and texture to the show’s visual landscape. And in a particularly inventive touch, Michael McClain creatively augments the 3-dimensional main set of the show with backdrops that evoke its literary roots by looking more like illustrations.
Thematically, messages about persevering in the face of prejudice, thinking outside the box to get at the facts, and valuing evidence over assumptions may strike a meaningful chord for malleable young viewers without feeling too heavy-handed for older ones, though for me these takeaways came second to just enjoying the clever jokes and chaotic fun of it all.
If you’re intrigued enough to want to see what Baker Street Beginnings has to offer in terms of evidence for yourself, you actually only have a few remaining chances, since the fact that many of the show’s performances are student matinees means fewer public performances. Especially given that the fast-paced piece demands only a 75-minute commitment, there’s little to lose in securing your place on this light-hearted adventure while you can.
If You Go
Baker Street Beginnings can be seen at 7 pm on Saturdays Sept. 12 and Sept. 19, and at 3 pm on Sundays Sept. 13 and Sept. 20 at the Marleen Forkas Studio One Theatre on Florida Atlantic University’s campus at 777 Glades Road, Boca Raton, 33431. Tickets are $25 for adults, and each adult ticket includes one free student ticket. Additional student tickets are $5 each. Tickets and season subscriptions are available at fauevents.com or by calling 561-297-6124.