Trance beats, prosecco fizz, and a karaoke list by a piano – not your average welcome to a Sherlock Holmes mystery, but this was no ordinary production. Grosvenor Park Open Air Theatre’s second offering this year is ‘The Adventures of Sherlock Holmes’ and as the auditorium began to fill, it was clear that this was going to be a joyfully unorthodox detective romp.

Set against the backdrop of a fictional CrimeCon Chester, the show kicks off in the format of a live podcast recording, ‘New Crime, True Crime’ where we’re introduced to a tenacious Dr Watson, played with wry warmth by Alyce Liburd. She’s returned home to Chester following a bereavement. 

And so begins ‘The Chester Conundrum’, a riotous, genre-blending caper that mixes true crime satire, classic whodunnit tropes, and bold, live-action theatre. There are cameo appearances from our favourite fictional detectives,Vera, Kojak, Velma from Scooby Doo, Poirot, and even the Pink Panther, all lovingly parodied in the show. The cast dive into this detective stew with gleeful energy, never letting the pace drop for a second.

Lauren Chinery is a delight as Keira, a hilariously frustrated would-be events organiser desperate for Holmes’ appearance — “Is Sherlock not here? I commissioned cupcakes with his face on!” she protests, in a standout comedic line. Rory (Eddy Westbury), her assistant and a former schoolmate of Holmes, holds the narrative together with charm, while the local detective, DCI Ray (Howard Chadwick) brings crowd-pleasing flair and a fair few ad-libbed one-liners embraced with gusto by the audience.

The crime takes place at Eaton Hall, whilst the Head of Security  parties at CrimeCon so is conveniently absent. Throw in a Masque Ball hosted by the Duke and Duchess of Westminster and the web thickens with missing paintings, missing people, and a whole lot of misdirection.

The interplay between the ‘real’ police and Holmes’ investigation is sharply written, brimming with references to modern crime TV and true crime podcast culture. Flashbacks in Act Two are smartly staged, clicking together the narrative like a true detective finale should; all roads leading to a wonderfully ludicrous plot involving kidnapping, nuns infiltrating the masquerade, and an old rival being at the centre of the storm.

Physical set pieces are highlights: a hilariously over-the-top bar brawl in the pub scene, with arm wrestling, card games, and an excellently choreographed fight scene backed by ‘I Will Survive’ karaoke. Tableaux in the pub scenes are effectively used, and use of the community cast bring warmth and texture to the setting. 

Among the many memorable lines, it is Arthur Conan Doyle’s own words that linger longest: “The littlest details are infinitely the most important.” Something which this script and players do exceptionally well – as true to form, the production never forgets the joy of a small, well-placed clue, or a knowing wink to the audience.

In all, it is a riotous love letter to both the world of Holmes and the absurdly addictive world of modern crime solving. It’s irreverent, inventive, incredibly well-written and brimming with local charm.

Thanks to our reviewer Fiona