Whilst Neon Crypt may still be relatively new to York’s theatre scene, their trademark style already feels firmly established: chaotic, inventive, and gloriously silly.
Their latest offering, The Hound of the Baskervilles at Theatre@41 this week, proves once again that with this company, an evening of marvellous mayhem is always guaranteed.
Sir Arthur Conan Doyle’s famous mystery is transformed into a riotous whirlwind of quick changes and theatrical buffoonery, as Sherlock Holmes, or perhaps more accurately his delightfully foolish companion Doctor Watson, attempts to solve the suspicious death of Sir Charles Baskerville.
From the moment audiences enter the space, greeted by a chalk outline and ominous oversized pawprints, the tone is set perfectly: gothic mystery colliding headfirst with outright farce.
The production tears through Baker Street, Baskerville Hall and the eerie Grimpen Mire at breakneck pace, with surprises lurking around each and every corner. And much like the characters themselves, the audience barely gets a moment to catch their breath.
Director Jamie McKeller steps away from the stage to orchestrate the madness, and the result is direction that feels simultaneously meticulous and completely unhinged. Every gag, glance and piece of physical comedy appears carefully engineered, yet never overworked.
There’s a deliciously pantomimic energy bubbling beneath the surface throughout, whether that’s a slapstick sequence or an outrageous audience interaction; I mean who can resist a spontaneous Celine Dion singalong? With the thrust staging of Theatre@41, performers frequently spill into the audience’s personal space, creating the constant sense that absolutely anything could happen at any moment – and often, it does.
What makes the comedy land so effectively is the cast’s remarkable restraint amidst the chaos. The eccentricity never feels indulgent or detached from the narrative; every over-the-top moment is rooted carefully within the world of the piece. The humour is heightened just enough to provoke huge reactions without ever losing control of the storytelling, a difficult balance that this company handles impressively well.
Sound and tech operator Jess Whitehead deserves enormous credit too, navigating an avalanche of sound effects, musical cues and split-second timings. Given the relentless pace of the production, this was no small feat and perfection was impossible.
Leading the madness is YorkMix’s own Laura Castle as Doctor Watson, the self-appointed star of the show. Castle’s performance is irresistibly animated; her facial expressions alone could earn applause. Every movement feels intentional and perfected; with a stage presence like this, she could never be a background performer, nor would we want her to be. Her Watson is wonderfully foolish yet strangely endearing — the kind of lovable idiot audiences can’t help but root for.
Laura McKeller takes on a dizzying array of roles, darting between Holmes, Stapleton, Seldon, Barrymore and countless others with astonishing speed. The sheer stamina required becomes particularly evident during the frantic Act Two opener, which leaves even the audience exhausted on her behalf. Yet despite the relentless pace, each character remains distinct, every accent sharply drawn and every cue executed flawlessly.
Completing the trio is Michael Cornell, who swaps pantomime dame for an assortment of doomed Baskervilles. Cornell possesses an effortless comedic presence, fully committing. His secondary characters in particular are a consistent highlight, delivered with deadpan absurdity. Quite frankly, no audience member will ever hear the phrase ‘lamb in a bag’ the same way again.
Whilst each performer shines individually, it’s the chemistry between the trio that truly elevates the production. There’s a genuine sense of trust and camaraderie underpinning the chaos, allowing the comedy to feel spontaneous even when it’s clearly executed with razor-sharp precision.
A special mention must also go to stage manager Rebecca Payne, whose unseen workload throughout appears nothing short of monumental. In a production so dependent on timing, props, costume changes and technical precision, her contribution cannot be understated.
As fog swirls through the auditorium and crimson drapes cast looming shadows across the stage, audiences may think they’re arriving for a classic detective thriller. What unfolds instead is something far more unexpected: a wildly inventive, relentlessly funny evening of theatrical chaos.
With Neon Crypt next turning their attention to 2:22 A Ghost Story, swapping slapstick silliness for psychological suspense, this once again proves the company’s versatility and flair.
But before the hound disappears back into the mist, head down to Theatre@41 for an evening packed with mystery, madness and mayhem.
The Hound of the Baskervilles is at Theatre@41 until Saturday 9 May. Tickets start from £10 and are available here.
