By Racheli Jian, Senior Arts and Culture Editor and Layout Editor
YCDS’s 123rd production, The Hound of the Baskervilles, set to premiere on April 14, takes on a complex challenge. Sherlock Holmes portrayals are known for their intensity, wit, and an overall serious nature, yet in their portrayal of Holmes, YCDS delivers so much more. This cast and crew takes the usually rigid Holmes and makes him a comic. They transform Watson from a troubled military doctor to a gullible and sentimental fool. They take the classic duo far away from 221b Baker Street and transform their story into one with much more colorful characters than one would expect.
The plot begins with Mortimer (portrayed by Steven Galitzer) seeking Sherlock (portrayed by Kiki Arochas) to investigate the death of his friend Sir Charles Baskerville (portrayed by Zev Granik), who was supposedly killed by a supernatural hound. Holmes sends Watson (portrayed by Shneur Levy) to the scene of the crime to be his “torch” throughout this mystery, and hopefully solve the case. While the main plot centers around a murder in the Baskerville family, there are aspects of the production that make you chuckle, despite the fact that the play’s focal point is a death. However, the dichotomy of the themes in this story is not the only thing the cast and crew had to juggle.
In the original script of The Hound of the Baskervilles, there were three actors who played all 15 parts in the show – YCDS elected to cast five. Therefore, on average, each actor has two or more personas under their sleeve. Not only that, as an added feature of the show, at times each actor also plays themself in order to break the fourth wall and address the audience. This humor is highlighted in a The Play that Goes Wrong-esque introduction. The show begins with an argument between the actors who play Watson and Holmes about who is actually portraying the main character. Is it Watson who has the most lines? Or Holmes, the one people know the best? While this is just a small detail in the first few minutes of the play, it really portrays how fun a play can get with limited actors and simple humor.
A small cast may allow for more comedy, however, it does not come without its struggles. Commenting on the ups and downs that come with having to switch between roles, Arochas (YC ‘25), who reprises three different roles (including Holmes), said, “It definitely is hard…with multiple characters you suddenly have multiple personalities, motivations and quirks.” Whether or not Sherlock is the lead, he is definitely a large role, and while Arochas maneuvers between Holmes and other characters, his counterpart, Watson, stays in the same role for most of the play.
Shneur Levy (YC ‘25) minimally switches between personas (only into the actor himself when breaking the fourth wall). Since Watson is on stage for almost all the scenes, we are able to see his entire personality in ways that we might not with other characters due to the constant switching around of actors. Levy highlighted the process of delving deeper into his primary role. “At first it felt like we were different people, but as we’ve progressed these past few months, I’ve actually felt myself becoming more like Watson.” The ability to focus on one character allowed the actor to connect more with Watson and fully understand his personality.
While a small cast does present its challenges for the actors, it adds to the audience’s enjoyment in the comedic department. The script isn’t afraid to lean into the fact that there are multiple characters played by the same person – even when it doesn’t make sense. For example, Rami Levin (SSSB ‘24), President of YCDS, portrays Mr. Barrymore and Mrs. Barrymore, the Butler and Cook who live in the Baskerville Mansion. The two characters have most of their scenes in the same room at the same time. Therefore, Levin relies on costumes and other effects to distinguish between the two characters to the audience. While in a more serious play, this would be seen as unprofessional or juvenile, this farce is able to take advantage of the comedic opportunities a small cast provides.
In a similar vein, Zev Granik (YC ‘24), who portrays Sir Henry Baskerville, one of the main roles, also plays three additional characters. However, a highlight of his performance is most definitely when he’s playing himself. The emotions that he, as the actor, feels surrounding the theater are so exaggerated and ridiculous that one questions whether the whole ordeal is in the script or not. The fourth-wall breaks encourage the audience to be their own detectives and discover what is meant to happen, even when it might appear as though some of the supposed slip-ups were not deliberate. Granik’s full emotion majorly arises in his rendition of himself, however his ability to rotate between four different characters relies heavily on costume. Granik highlights the importance of dress, “Each character has to have a distinct look so the audience knows who they’re looking at. This might mean a new costume, but also a new body posture or voice.” Whether it’s a missing shoe or a jacket change, the costumes play an integral role in differentiating characters.
The costumes aren’t the only backstage magic. The effects range from eerie smoke to a lamb’s bleating that perfectly highlights the duality of this play: satire and seriousness. The effects complement the set itself and transport the audience through many different scenes. For example, through the use of blackouts in lighting and additional hats in the costume department, three actors are able to portray five different roles at two different locations without ever leaving the stage. Levin reflected on the importance of the backstage crew, saying, “I think I tapped into a lot of really talented people who wanted to do something big, and I think the results speak for itself.” The transformation of a relatively small space, and only five actors, into several locations and 15 characters is an incredible feat that is majorly supported by the effects, costumes, and set teams.
The creatives backstage aren’t the only ones with the ability to add their own personal choices; the cast also has the opportunity to add their own jokes to the show. While it is not an improvised production, Steven Galitzer (SSSB ‘26), who portrays multiple roles including Mortimer and Wise Yokel, noted that when it comes to the cast or crew suggesting their own ideas into the script, “it doesn’t matter how late it is into the process, if the idea is good and doable then [the director, Reuven Rusell,] will incorporate it.”
Professor Russel, who has been directing YU Dramatics for the past 18 years, was audibly laughing at each joke in the play despite the fact that he already knows the script and has probably seen these actors in this play dozens of times. Each deadpan or pun is appreciated like a joke he’s hearing for the first time. By allowing actors to incorporate their own opinions into the show, he keeps the spontaneity that every good spoof should have.
This hilarious farce stretches the boundaries of Sherlock Holmes way past his drab apartment in London. While it is unclear if Sir Arthur Conan Doyle would approve of this rendition, the audience definitely will. From a smoke machine, to a tango, and a wig being transformed into a beard, this play pleasantly surprises the audience and takes them beyond the standard Holmes mystery.
While the main motive of the play does lie in the question “Who killed Mr. Baskerville?” I believe the more important question is “Who is the main character?” Is it Watson? Holmes? Or someone who steals the show?
Catch the YCDS performances April 14-18 to decide.