From “Doctor Who” to “Downton Abbey,” fans of British TV have come to expect their favorite shows to air special episodes at Christmas. Similarly, long before the television was a household item, readers of British detective fiction enjoyed Christmas-themed stories about their favorite characters, including Sir Arthur Conan Doyle’s Sherlock Holmes, G.K. Chesterton’s Father Brown and Agatha Christie’s Hercule Poirot. Perhaps these trends can be traced back to the Christmas mania of the Victorian era, when the royal family popularized Christmas trees and holiday cards; regardless, the combination of beloved characters and seasonal settings never seems to go out of fashion.

City Lit Theater taps into this tradition with its latest world premiere, “Sherlock Holmes and the Christmas Clowns,” a mashup of Doyle and Chesterton adapted by John Weagly. Based on Chesterton’s 1911 short story “The Flying Stars,” the play replaces Father Brown, a crime-solving Catholic priest, with Holmes, his more famous counterpart in amateur sleuthing. Artistic director Brian Pastor’s production largely captures the vibes of the original, which, in Chesterton’s words, depicts “a Christmas crime, a cheery, cosy, English middle-class crime; a crime of Charles Dickens.”

Viewers hoping for a complex mystery and a dazzling display of Holmes’ deductive prowess will be disappointed by the skimpy plot, which is resolved before it really picks up steam. James Sparling and Adam Bitterman reprise their roles as Holmes and Watson, a duo they have played together at City Lit four times since 2014. Visiting friends in the English countryside on Boxing Day, the detective and his faithful chronicler find themselves spectators at an impromptu pantomime — a silly genre of holiday show that draws on commedia dell’arte and music hall influences. Amid the slapstick comedy, a trio of precious jewels goes missing, and the game is afoot for Holmes.

As a reader of the entire Sherlock Holmes and Father Brown canons, I think it would be difficult to swap one detective for another in most of the published stories, and this is especially true for “The Flying Stars.” Using different investigative methods from the cerebral Holmes, Brown generally relies on his empathy, unassuming persona and the deep knowledge of human nature that he has gained through his clerical vocation. And in this particular Chesterton story, the climax hinges on a distinctly pastoral approach from the priest.

Aside from replacing Brown with Holmes, Weagly’s script closely adheres to the source material, which doesn’t leave much space for Holmes’ signature qualities to shine. In an early exchange with Lady Gabriella (Betsy Pennington-Taylor), owner of the stolen jewels, Holmes goes on one of his verbal sprees, showing off his observational skills by identifying, with ridiculous specificity, the provenance of each silk and fur worn by the rich woman. But this crowd-pleasing bit proves to be a one-off.

Still, the play offers more Holmesian fan service by referencing his previous cases (some from Doyle, some imagined by Weagly) and highlighting his oblivion to certain social norms (a hint of Benedict Cumberbatch’s seemingly neurodivergent Holmes, here). Wearing period costumes by kClare McKellaston, both Holmes and Watson look the parts as they live in the popular imagination — complete with tweed, deerstalker and pipe.

Manny Sevilla, Courtney Abbott and cast in “Sherlock Holmes and the Christmas Clowns” by City Lit Theater. (Steven Townsend)

The cast also includes Mark Mendelsohn as party host Colonel Adams and Sophia Vitello as his daughter, Ruby; Manny Sevilla as John Crook, the socialist journalist from next door who’s in love with Ruby, and Courtney Abbott as Jemma Blount, the colonel’s Canadian relation. Maggie Cain, David Fink, Alex George and Bruce Holtman form the chorus, a merry quartet that sings carols, comments on the action and plays supporting roles.

While the show is light on plot, the ensemble plays up the comedic elements, including the physical antics of the pantomime scene. Pennington-Taylor stands out as Lady Gabriella, Ruby’s godmother, whose new-money airs show in her exaggerated accent, flamboyant accessories and flair for flirtation (directed, amusingly, at Holmes).

Though I would have liked more opportunity to see Sparling’s Holmes and Bitterman’s Watson in action, “Sherlock Holmes and the Christmas Clowns” fits the bill for lighthearted holiday cheer. If cozy mysteries are your jam, this is about as cozy as they come, with low stakes, very little violence and a wholesome ending.

Emily McClanathan is a freelance critic.

Review: “Sherlock Holmes and the Christmas Clowns” (2.5 stars)

When: Through Jan. 4, 2026

Where: City Lit Theater at Edgewater Presbyterian Church, 1020 W Bryn Mawr

Running time: 1 hour

Tickets: $28 at 773-293-3682 and citylit.org

 

https://www.chicagotribune.com/2025/12/15/review-sherlock-holmes-christmas/