Ken Ludwig’s Moriarty draws from several Sherlock Holmes tales to weave a lively narrative. Those familiar with Sir Arthur Conan Doyle will know Moriarty as Holmes’ arch-nemesis, though the novels left his origins largely unexplored. In Director Gregory George’s production, Sherlock’s relationship with the criminal mastermind comes into keen focus, with Dr. Watson (Peter David Allison) guiding the audience through Holmes’ reasoning and deductions as he pieces together the clues attempting to locate the King of Bohemia’s missing letters.

Joshua McGowan is an excellent Holmes—his deep voice and restrained expressions perfectly capture the astute detective. While Doyle’s stories leaned heavily on sleuthing and crime-solving work, this adaptation highlights Sherlock’s connection to Irene Adler (performed with grace and charm by Jessica Joseph-McDermott) suggesting an amorous possibility.

George layers the adventure with striking visual elements, particularly puppetry and shadow play. His designs range from doll-sized marionettes to large life-sized puppets requiring multiple operators. For some, these sequences were a delight, symbolic of Moriarty’s pulling the strings. Personally, I found the constant shifts of focus disconcerting and unnecessary.

Susan Carveth’s costumes deserve praise, especially Sherlock’s iconic smoking jacket and deerstalker hat. However, the decision to leave Toby the Hound (Dimitri Poulos) without even a token identifying accessory felt like a missed opportunity. Scene changes flowed quickly, with crew members in black wheeling props on and off the stage, supported by projected backdrops that moved the action from Baker Street to Switzerland’s dramatic waterfalls. Michael Schell’s lighting and sound designs added texture and atmosphere to the drama, from the sound of the train chugging along to the crash of waves. Being a community theatre, Genesian’s creative team cleverly engages simple props like a bedsheet supported by Schell’s lighting design, to depict waves. George notes his aim of blending modern technology with old-world theatrics, and this fusion is clearly at play.

Genesian Theatre has long specialised in the “plays of yesteryear”—from mysteries such as The Lady Vanishes, to romantic comedies like Lord Arthur Savile’s Crime, that whisk audiences back to another era. Moriarty fits squarely in this tradition: a mystery laced with romance, humour, and brisk fight scenes. The pacing is swift, racing along at the speed of Sherlock’s brilliant mind.

While the neatly tied-up ending didn’t entirely satisfy, the evening still left me entertained, relaxed, and impressed by the inventiveness of Genesian Theatre. Moriarty delivers sharp performances, inventive staging and plenty of Holmesian intrigue—it’s an engaging, enjoyable night at the theatre.

3.5 stars.

Moriarty is playing now at Genesian Theatre Company until 13 September 2025.

For tickets visit Genesian Theatre