‘Sherlock Holmes and the Adventure of the Ghost Machine’ @ Stage West

Graphic by Jen Schultes; photo by Evan Michael Woods

—Jan Farrington

The game’s afoot—for the third and last run of Stage West’s exciting trilogy of playwright David MacGregor’s “Holmes” stories. Mr. Holmes, where’s your hat?

This installment is titled Sherlock Holmes and the Adventure of the Ghost Machine. It takes place in 1905, the characters are all a bit older—and if it gives you a clue, by the time we’re a few scenes into the plot, The Great Detective has snapped his magnifying glass in two…on purpose.

There’s more than just a mystery going on.

As with all three of MacGregor’s popular plays, some new historical figures appear—this time, it’s a pair of legendary inventors, Thomas Edison and Nicola Tesla (Bob Hess and Paul Taylor)—who have arrived in London at the same time, and promptly had their newest inventions stolen. Hence, the visit to Holmes.

And a brand-new Holmes it is, well played by whip-thin and sharp-eyed actor Brandon J. Murphy, with Robert San Juan (also new) as the stalwart but slightly goofy Dr. John Watson, and Samantha Potrykus as the trilogy’s third Marie Chartier (all have been dangerously fun), the villainous daughter of Dr. Moriarty. And, as throughout the series, the compelling Dana Schultes plays the tender-but-tough mastermind Irene Adler, now long married to Mr. Holmes.

And even before Edison and Tesla arrive at the door, that’s the problem: Irene believes she and Holmes have turned into an old married couple, not using their brilliant minds to help solve the world’s most complicated crimes. They love one another, that’s made clear—but is the cozy life at 221B Baker Street enough? Can she find a way to draw Holmes back into his rightful (if dangerous) place in the world—and persuade him to take up the challenge?

Clare Floyd DeVries’ gorgeous stage design sets the atmosphere, with Victorian/Edwardian clutter that includes objects (Kaitlin Hatton does the props) that we recognize and love. Lights are diffused under crimson glass shades, one of many good effects from designer Tristan Decker; he is also, I’m sure, a part of dream-like sequences in steam-fogged half darkness. Costume and wig designer Laurie Land has crafted a parade of fine period pieces matched to each character, and clever Bryan Stevenson is the maker of the two “inventions” Tesla and Edison are desperately seeking.

Again, playwright MacGregor spins so many plot threads we’re driven almost wild trying to follow them all. What is going on? Fortunately, the threads come together (in their own sweet time) into an elegant weave of crime and deduction—sorted out onstage by Holmes himself, who takes a deep bow at the end of his long explanation, and deserves a huge round of audience applause. (Mr. Murphy, apologies: you caught us off guard on opening night!)

Schultes’ Irene Adler has a slow, dry way of speaking that’s distinctly her own—her mind is always at work, her eyes searching the distance—but her natural warmth is enough for the two of them. Murphy’s Holmes enters in a frilly apron (we both applaud and lament his domestic god look), but his keen delivery is pure Holmes from the start. Potrykus’ French accent as Marie makes her dialogue a challenge here and there—but she’s wonderfully chic and evil as Chartier, who lives to ruin lives…for fun and profit. And yes, San Juan’s Dr. Watson is silly, but at the right moment, makes us tear up at how much he loves his two best friends.

In each of the plays I’ve been charmed by the historical figures plopped into the action. Paul Taylor’s Tesla, awkward but brilliant, snaps into focus as he explains his newest invention—and his lifelong wish to do some good in the world. (Somebody tell Elon, please!) And Bob Hess’ Edison made me grin: he’s hot-tempered and gruff, with a plain-to-see obsession with squeezing a few bucks from every minute of his day. Do-goodery can go hang, he says—I’m out to get rich.

This last installment of the Holmes trilogy has a darker tone than the two before—but still plenty of comedy to keep energy and fun going strong. Life gets more serious as we grow older, we know that, and why should it be different for Holmes, Adler, and Watson? You needn’t have seen the earlier episodes to enjoy this one. But if you have seen them, Sherlock Holmes and the Adventure of the Ghost Machine is a worthy finale for a three-year theatrical commitment by the we-love-a-challenge folks at Stage West.

WHEN: June 10-July 5, 2026
WHERE: 821 West Vickery, Fort Worth
WEB: stagewest.org