Sherlock - West Briton

SIR ARTHUR CONAN DOYLE'S famed detective has come in many guises since his inception in 1887.
From Basil Rathbone's traditional deerstalker to Robert Downey Jr's coke-stained superhero and now Benedict Cumberbatch's Dr Who-lite.

But none has been more brain-scrambling than Miracle Theatre's new take on the inscrutable inhabitant of 221B Baker Street, as portrayed with a knowing insouciance and wry smile by Steve Jacobs.
Without giving too much away, this Holmes fights for his survival not just against arch nemesis Moriarty but his actual creator, Conan Doyle.

The delightful comedy sees Miracle's writer and director Bill Scott get his teeth into another literary giant, but also allows him to have great fun with Conan Doyle's unbending, and some would say misguided, belief in spiritualism.

As with all Miracle's productions this is a tiny ensemble affair – the small band of actors run wild with a whole host of characters.

Jacobs is dependable as always as Holmes while Ben Dyson adds to his reputation as one of Cornwall's finest comedy actors with his turn as loyal but really rather stupid Dr Watson (his vocal trill during the "seance" is hilarious).

Catherine Lake goes from a spooked vicar's wife to big bustled Scottish matriarch (not forgetting Inspector Lestrade and a Swiss hotelier) with aplomb.

The real stars of the show though are two relative newcomers.

I remember interviewing Wesley Griffith several years ago while he was appearing in a student production at the Hall for Cornwall – there was something that shone even then. He is superb here – with the most expressive eyes since Lassie; perfectly pompous as a bumbling missionary, wickedly farcical as Moriarty and suitably gruff as Conan Doyle. A definite star in the making.

Rebecca Rowe is back in her second Miracle show and is a delight. With the best ad lib of the night, she went from cockney busybody Mrs Hudson to a deliciously OTT medium with great success.
Riffing off the last Holmes story (before his resurrection), The Final Problem, Scott has produced a many-stranded gem with some wonderful set pieces – look out for the train scene as our heroes steam away from Moriarty.

The tiny set by Al Munden has great claim to be another star of the show, though the constant changing of windows and chairs by the players and an infernal white doorknob distract somewhat.
Adding to the pace is a suitably violin-heavy score by composer Jim Carey.

How does Miracle keep on staging such imaginative shows? It's elementary, of course.