Music Hall!

Music Director Eric Schmiedl

Music Hall is a form of entertainment which was extremely popular in England during the Victorian Era, featuring comedy performances and rousing, boisterous songs.

Subject matter for music hall songs could be thought unsuitable for “respectable” audiences, focusing on and making light, as they often did, on subjects such as poverty, crime and inappropriate social behavior.

Each of the songs that I selected for inclusion in the play script for Sherlock Holmes Meets the Bully of Baker Street were written in the late 19th and early 20th centuries, though some of the lyrics have been adapted to suit the plot of the play, and the age of its intended audience.

For example, we use the song “Oh my! How the Money Rolls In!” which uses the traditional Scottish melody for “My Bonnie Lies Over the Ocean,” which allows Miss Barnaby to describe the illegal activities committed by her young charges:

Young Annie steals fruit from the corner
Which Sylvia sells in the square
Then brings all the pennies she’s made up
I’ll give her back one as her share!

Young Darla she sneaks into houses
Takes all of the silver and plate
Her talents have grown exponentially
And the darling sweet robin’s just eight

Those are my original lyrics, suitable for an elementary school audience. The original song (titled “My God! How the Money Rolls In!”) is much more lascivious. Over the years a variety performers created increasingly obscene lyrics describing how each member of the family turns tricks; it was “The Aristocrats” of its day. For example:

My mother's a bawdy house keeper
Every night when the evening grows dim
She hangs a red light in the window
My God, how the money rolls in!

My grandma makes cheap prophylactics
She pierces the end with a pin
And grandpa does quickie abortions
My God, how the money rolls in!

"The Mystery of Edwin Drood"
(Great Lakes Theater, 2009)

Ten years ago, Great Lakes Theater produced The Mystery of Edwin Drood, a musical adaptation of Charles Dickens’s final, unfinished novel of the same name, with music, book and lyrics by Rupert Holmes (no relation) the creator of "Escape (The Piña Colada Song)".

Utilizing the fast-paced and ribald style of the music hall, Holmes was able to tell Dickens’s sordid tale of opium, prostitution and murder with humor and audience interaction. The murderer, in fact, is chosen each performance by the audience!

Now, any casual consumer of Holmesian mythos (and here I am referring to the detective, and not the composer of "Him") knows that Sherlock plays the violin. Yet as I plunged into writing the plot for the Bully of Baker Street, I knew it would be more sprightly and fun for the company to sing their stories to our proposed child audience rather than subject them to a recital. And so we return to the Music Hall.

Note: I love violin recitals. Here is a really good one.

Rehearsals began this week, and our musical director is none other than the masterful Eric Schmiedl. Eric penned the last two "Classics On Tour" productions for Great Lakes (Huck Finn and Treasure Island) in which he was also a performer, and the arranger and lead musical performer. Including period music has now become a trademark of these touring performances for children, and I didn’t see why a Sherlock Holmes mystery should be any different.

The songs include "The Artist" by A.J. Mills and B. Scott, in which a painter describes her bohemian pose, and "Broken Down" by Harry Clifton, a woeful tale of loss of status. Eric has arranged the former to be in the style of Gilbert & Sullivan, the latter as bluesy yet ironically upbeat. Each is a showcase for one of the characters, with supporting vocals provided by the rest of the company.

To be continued.

UPDATE: "Sherlock Holmes Meets the Bully of Baker Street" is now available from Pioneer Drama Service

Source: Traditional Music Library

Lestrade's Lads

Steve Lewis (left) and Henrik Hansen
This photo was staged.
(Chronicle-Telegram)

When my brother was in middle school, he and eight of his colleagues formed a local chapter of the Baker Street Irregulars. Theirs was an officially recognized “scion society” of BSI, an international organization of Sherlock Holmes enthusiasts that has in its time included such notable members as Harry Truman, Neil Gaiman and Curtis “Booger” Armstrong.

This youthful Bay Village society called itself Lestrade's Lads, after the Scotland Yard inspector who often took credit for Holmes's achievements.

The BSI celebrates the birthday of “the Master” each January 6 with a gala in New York City. In 1978 the Lads were in eighth grade, and they were content to sit together at our house, listening to vinyl records of 1940s radio adaptations starring Basil Rathbone and Nigel Bruce, sharing trivia, and hoping Big Chuck and Lil’ John might play one of the films.

One of the more notable things about members of the BSI is their engagement in the game, or the belief that Holmes and Watson were not fictitious and that Arthur Conan Doyle was merely a literary agent for Dr. Watson. The “fun” part of this game is creating a realistic timeline and character biographies from Doyle’s fifty-six short stories and four canonical Holmes novels which can be wildly contradictory.

These mental exercises are beyond my ken, as I have never been a great follower of the character of Sherlock Holmes in any medium, beyond the recent incarnation as performed by Benedict Cumberbatch. Even then I only watched two seasons.

But having been assigned the responsibility of writing a new mystery for the character, I did not wish to stumble blindly into a chronology so richly mined. I hoped to create a pastiche, and not merely fanfic. A possible, brief adventure that could fit into the established narrative, and because I wanted him to have a young female companion, I needed Watson to be absent.

In 1962, William S. Baring-Gould published what has come to be regarded as the definitive “biography” of the world’s most famous detective, Sherlock Holmes of Baker Street. He writes:

Watson, in the winter of 1900-01 and the following spring, was much too busy writing his narrative of "The Hound of the Baskervilles" to share many cases with Holmes, but his narrative was in the hands of the publishers by May of 1901, and he was able to take part in a case destined to become a classic in the annals of criminology -- that of the Priory School.

And so, the adventure of Sherlock Holmes Meets the Bully of Baker Street takes place over the course of a couple of days in early spring, 1901. For good measure, I even sent Watson out of the country for a fortnight on a family matter.

Each of my brothers were in town for Thanksgiving. Henrik, a life-long Anglophile, has been living in England for over a quarter-century. Shortly before he departed this afternoon, we went through the few childhood belongings that remain in the attic of my mother’s home.

These include a massive, two-volume set The Annotated Sherlock Holmes, The Sherlock Holmes Scrapbook, magazines, photographs, paperbacks, and newspaper clippings, and the three-album set of radio dramas Lestrade’s Lads listened to more than forty years ago.

UPDATE: "Sherlock Holmes Meets the Bully of Baker Street" is now available from Pioneer Drama Service

To be continued.

Sources:
Bay’s Baker Street Irregulars: Sherlock Holmes ‘never said all that’ by Cynthia Roberts, The Chronicle Telegram (1/1/1978)
The Baker Street Journal: An Index to an Irregular Quarterly of Sherlockiana (Vol. 20:1 - Vol. 43:4)
Sherlock Holmes of Baker Street, A Life of the World’s First Consulting Detective by William S. Baring-Gould (Bramhall House, 1962)

The Women of Baker Street

Irene Adler

Five years ago courts concluded (and not for the first time) that the stories and characters created by Sir Arthur Conan Doyle written prior to 1923 are in the public domain, freely available for any artist to write about or interpret without fear of copyright infringement.

(The Doyle estate did go on to press the creators of the 2015 film Mr. Holmes that they had used details about Sherlock’s retirement referred to in stories written after 1923, which illustrates how legal issues continue.)

I could adapt almost any of the classic Sherlock Holmes adventures. I have chosen instead to create an entirely new mystery, one which will, ideally, fit neatly into the established timeline of events as set down by the original author.

Why a new adventure? Simply put -- women. The only recurring female character in Sherlock Holmes is Mrs. Hudson, the landlady at 221B Baker Street.

Contemporary adaptations, like the BBC series starring Benedict Cumberbatch and the two Guy Ritchie films, chose to inflate the character of Irene Adler into that of Holmes’ romantic opposite, though she appears in only one Doyle story and the characters have no such relationship.

Today we expect, in fact require, strong female characters. This is not a matter of political correctness, it is merely a fact. My daughter never held any interest in the Star Wars films until Rey was introduced. I never told her which books to enjoy, she always gravitated toward compelling women (Hunger Games) and has entirely avoided weak ones (Twilight).

"Treasure Island"
Great Lakes Theater (2019)

Our last two outreach tours, freely adapted by Eric Schmiedl from the classic novels The Adventures of Huckleberry Finn and Treasure Island, illustrate the challenge in finding compelling female models in 19th century adventure tales. You can cast women to play Huck and Jim Hawkins to great effect (and we did), but the actual women characters in these stories are only docile mothers and silly girls.

Having decided to create compelling women for this Holmes play, the question was how to do this and still maintain the authentic structure and feel of a Sherlock Holmes narrative. Holmes, Watson, Lestrade, Moriarty, Mycroft -- principals characters all. In order to introduce new characters, most would need to be absent, to make way. How to do that without losing what is intrinsic to the legend?

Of course, what is most iconic is the man himself. But could we create a female narrator -- not a women playing Watson (as Lucy Liu does in the successful, modern American TV adaptation) but a new character entirely? How will that work?

And who is the bully of Baker Street?

To be continued.

"Sherlock Holmes and the Bullies of Baker Street"

Plotting down the bones.

The assignment was basic, yet complex. To write a play for children, one that would engage their imaginations and also entertain, to teach empathy and important lessons in positive social behavior (to wit; an anti-bullying message), one based in literature in keeping with the education department’s mission of fostering a life-long interest in the classics.

And why not a mystery? The professional wing of our company has in recent years produced one mystery a year. We would employ a familiar character -- one in the public domain -- perhaps the most famous detective of all.

This concept was still in the “what-if” phase when my supervisor, Lisa, blurted out a fanciful title; Sherlock Holmes and the Bullies of Baker Street!

It was supposed to be a joke. There is an entire cottage industry in “bully” plays, with titles like “Bullybeard the Pirate” and “How I Stopped the Bully” or even “The Bullying Bullies of Bullyville.” I made those up, just now, off the top of my head, but search them. They may exist.

The motivation behind these works is not unwarranted. Our educators are always seeking new ways to teach empathy and stem youth violence and intimidation. But could we create a play for children which satisfies a socially conscious mission and also provide an entry point to works of classic literature?

Lisa’s title sounded iconic, and yet entirely original. Whereas I was unsure of my ability to pull so many threads into one fifty minute show -- intended for children aged five to ten -- suddenly I was imbued with interest and enthusiasm. The game, you might say, was afoot!

(“The game’s afoot,” by the way, a line now commonly associated with Doyle’s legendary consulting detective, originates as all great English writing does, from Shakespeare. It’s from Henry V, a fact I was reminded of this summer when I saw an outdoor production in Public Square.)

Shortly before the deadline to announce the tour, I decided to tweak the title a bit, to Sherlock Holmes Meets the Bully of Baker Street.

Many Holmes mysteries state a detail of the story for the title (The Sign of the Four, The Red-Headed League) or begin “The Adventure of …” (The Adventure of the Speckled Band, The Adventure of the Copper Beeches).

With this new title, the star is up front, the verb meets (rather than the passive conjunction and) evokes thrilling early 20th century action films, and the single bully is a mystery all its own -- Who is the Bully of Baker Street?

To be continued.