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Jaime Robledo by Jaime Robledo www.stagerights.com WATSON: THE LAST GREAT TALE OF THE LEGENDARY SHERLOCK HOLMES Copyright © 2010 by Jaime Robledo All Rights Reserved All performances and public readings of WATSON: THE LAST GREAT TALE OF THE LEGENDARY SHERLOCK HOLMES are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan- American Copyright Convention and the Universal Copyright Convention, and all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronics, recording, or otherwise, without the prior written permission of the author. Publication of this play does not necessarily imply that it is available for performance by amateurs or professionals. It is strongly recommended all interested parties apply to Steele Spring Stage Rights for performance rights before starting rehearsals or advertising. No changes shall be made in the play for the purpose of your production without prior written consent. All billing stipulations in your license agreement must be strictly adhered to. No person, firm or entity may receive credit larger or more prominent than that accorded the Author. For all stage performance inquiries, please contact: Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com ORIGINAL PRODUCTION NOTES Watson: The Last Great Tale of The Legendary Sherlock Holmes originally premiered at Sacred Fools Theater Company, Los Angeles California on November 5, 2010. Originally produced by Brandon Clark, French Stewart, and Brian Wallis Director - Jaime Robledo Scenic Designer - Erin Brewster Costume Designer - Jessica Olson Lighting Designer - Matt Richter Sound Designer - Ben Rock Fight Choreographer - Andrew Amani Choreographers - Natasha Norman & Ceasar F. Barajas Assistant Director - Monica Greene Stage Manager - Suze Campagna Cast Dr. John H. Watson - Scott Leggett Sherlock Holmes - Joe Fria Sigmund Freud & Queen Victoria - French Stewart Professor James Moriarty - Henry Dittman Mycroft Holmes - Eric Curtis Johnson Irene Adler - Rebecca Larsen Mary Morstan Watson - Cj Merriman Stagehands - Lisa Anne Nicolai, Colin Willkie, Jennefer Ludwigsen, Andrew Amani Original music composed by Ryan Thomas Johnson Original artwork by Corey Klemow CHARACTERS 4F, 7M JOHN WATSON: Male, mid 30s to mid 40s. The agreeable and bumbling sidekick to Sherlock Holmes who becomes a hero. SHERLOCK HOLMES: Male, mid 30s to early 40s. Arrogant, tortured, and paranoid with a romantic streak. Adept at physical comedy. PROFESSOR MORIARTY: Male, late 30s to late 40s. The reptilian arch-nemesis of Sherlock Holmes. Will begin the play as a stagehand as well as play six characters in Victoria Station. SIGMUND FREUD: Male or female, early 40s to early 50s. Zany Austrian doctor with unusual methodology. Will potentially double as Queen Victoria. MARY MARSTON: Female, mid 20s to mid 30s. The concerned, understanding wife of John Watson. Must sing. IRENE ADLER: Female, mid 20s to mid 30s. Tough, brash, and intelligent. She is the only woman to outsmart Sherlock Holmes. MYCROFT: Male, late 30s to late 40s. Snide, unkempt, and quick with an insult. He is Sherlock's older, smarter, brother. STAGEHANDS: All types and ethnicities; male and female. They play actual stagehands, moving set pieces on, off and around the stage as well as various supporting characters throughout the play. Must be athletic and versatile actors who can play several distinct characters within the course of the play. The stagehands almost never leave the stage and play an integral part in the story’s action and the play’s theatricality. PRODUCTION NOTE In the original production, the actor playing Sigmund Freud doubled up as Queen Victoria. Also, the stagehands broke down as two men and two women with Mary and Mycroft as separate characters. The cast number and breakdown is flexible according to the needs of the producing company. TECHNICAL REQUIREMENTS Simplest works best for Watson. Flexibility and mobility of the set is very important. The action set pieces are done on individual elements of Baker Street, so they should be light enough to be moved by every actor and strong enough to be jumped on by every actor. Bentwood chairs, wooden crates, bookcases, and steamer trunks should all be reinforced. A working chandelier which flies in and out of Baker Street that also serves as the hot air balloon is not necessary but adds tremendously to the beauty and verisimilitude of the balloon scene. Because the stage is empty for most of the play, and because of the iconic nature of the characters, costumes should be as authentic to the period as possible. Most characters wear one costume. Some characters double up. Mary and Irene both double as the woman in white. Freud doubles as Victoria. The stagehands should be simply and uniformly costumed in shirt, slacks, and a vest. Any ensemble characters they play are denoted by hats. Moriarty begins the play as a stagehand, but adds on costume pieces to become the notorious Professor. Lastly, the script calls for a Punch and Judy stage and puppets with the likenesses of Sultan Abdul Hamid, Tsar Alexander III, and Queen Victoria. These puppets can be as simple or as detailed as you choose. SETTING Simple settings suggesting Baker Street, a steam train, Paris, Vienna, and the Court of Queen Victoria RUN TIME 1 Hour, 45 Minutes WATSON: THE LAST GREAT TALE OF THE LEGENDARY SHERLOCK HOLMES – PRODUCTION SCRIPT 1 ACT I SCENE 1 221 B BAKER STREET (1894) Overlapping muslin sheets drape from a crumbling proscenium. A single light illuminates JOHN WATSON, late 30s carrying a medical bag and puffing on his pipe. We hear the gravelly voice of a GYPSY. GYPSY (O.S.) Dormant, yet not abandoned. 221 B. Baker Street. Just as you left it after Mr. Holmes’ passing. WATSON I am here at your urging. Lights up on the hunched and ragged figure. GYPSY Many leaves whither; their stories go untold... WATSON Forty-two secrets forever kept to behold. Your note is still in my possession. And for what am I supposed to be looking? GYPSY What you seek is not inside, but within. Your story is not yet written, John Watson. You must dig deeper. She points up to Baker Street. WATSON looks. WATSON Dig deeper? I don’t understand. I’ve done what you asked. What do you want of me? GYPSY The question is, “what do you want of yourself?” He turns around, but she has disappeared back into darkness. WATSON Well that was god damned cryptic. Music plays as the lights shift to illuminate behind the sheets. STAGEHANDS enter; their shadows cast on the fabric. The stagehands, ever so orderly, pull them down to reveal 221 B Baker Street. They methodically move the set elements into place. A chandelier hovers above. A parlor of a Victorian flat fills the space. A large rug covers the creaky wooden floor. Stage right is the door leading into the flat. Large steamer trunks are piled toward the rear. Two gaslight sconces are mounted above. Muslin cloths cover a walnut desk and drapes over several other pieces of furniture. Several bookless bookcases stand in various states of disrepair. 2 WATSON: THE LAST GREAT TALE OF THE LEGENDARY SHERLOCK HOLMES – PRODUCTION SCRIPT Small crates filled with books and papers are stacked on and around the desk. A doorway stage left leads to the rest of the flat. Violet curtains cover the windows. The STAGEHANDS exit, turning out the last light as they go. A door squeaks open as WATSON enters. He reaches in his pocket and pulls out a pipe and a match which he subsequently strikes. He takes a couple of puffs and then uses the still-burning match to light a gaslight lamp. WATSON (CONT’D) Many leaves wither; Their stories go untold. Forty-two secrets forever kept to behold. Hmmm...“Many leaves whither.” A leaf is a page. What is 42, but two 21s. 221 Baker Street. Many pages whither at Baker Street. Pages… secrets… WATSON scans the room. Watson moves boxes, pulls sheets down, open trunks as he searches the parlor. He crosses to the desk opening drawers with no luck. Watson looks through some boxes and flips through various papers. He digs through a box on the desk, pulling out a worn leather bound manuscript with hand written pages. How could I have forgotten? WATSON flips through several pages before getting to the first one. He begins to read from it. The Last Great Tale of the Legendary Sherlock Holmes as told by his Trusted Friend and Colleague, Doctor John H. Watson. Hmm. The title is longer than I remember. (back to reading) What I may report within these pages could be described as mere fantasy or flights of whimsy; I can assure you they are not. To understand what occurred here, I ask first and foremost for your forgiveness. WATSON abandons reading and directly addresses the audience. As he does so, the lights shift and four STAGEHANDS enter, dressed simply and uniformly in shirt, vest, and dark trousers. They begin to dismantle the Baker Street. It is with a heavy heart that I admit to sheer fabrication in my last work entitled “The Final Problem,” where Professor James Moriarty and Sherlock Holmes plummet to their deaths down Reichenbach Falls. Holmes’ demise occurred quite differently than I first reported in Strand Magazine. For you see, this true accounting could only come to light after a reasonable amount of time when events have played out to their natural conclusions and history could wash away any transgressions.
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