No Place like Holmes

Coral Drouyn talks to Writer/ Director of The Mystery of the Valkyrie on the World Premiere opening (March 11^{th, 2023}) of his new play at QPAC’s Playhouse theatre.

You hear the description “triple-threat” all the time in musical theatre, but it’s rarer to find such a creature in drama. The triple threat is actor/writer/director. Kenneth Branagh is one, as is Emma Thomson. And so is Brisbane’s Michael Futcher.

For those who only follow mainstream theatre, the name may not be overly familiar, but for all of us interested in independent theatre and Australian writing, his name is in the top echelon of theatre-makers, and a new play from him is something to be savoured.

It's 30 years since Michael won his first award for Grendel and 23 years since the storming success (4 Green Room Awards among others) of his play A Beautiful Life - about an Iranian refugee family in Australia caught up in the attack of an embassy in Canberra. The play has become a modern classic and is studied in both secondary and tertiary institutions, marking Michael as an important contemporary playwright. By this time Michael and his wife and co-writer Helen Howard were well ensconced in their own Matrix Theatre Company, one of the leading companies in Brisbane.

The interesting thing (to me) about Michael as a writer is his interest in adapting real life events, even those that are seemingly non-eventful. How then, does a contemporary playwright transition to adapting classic British literature for a mass audience? Michael was happy to answer that and more.

Coral: Were you always a fan of Sherlock Holmes? And likewise Jane Eyre and Dickens.

Michael: Not especially. I was far more interested as a young playwright in what was happening around me. But sometimes fate supplies the masterplan. Helen and I were busy establishing our own theatre company, which, as you know, is not an easy task anywhere in Australia.

Brisbane is a little easier than some capitals in that it’s possible to form alliances with other theatre companies, pool resources, maybe share sponsors, maximise the chance for a major production that might just been seen in other states. We were lucky enough to be on the same wavelength as Shake and Stir, who are innovative and with an ethical commitment to excellence. I would probably never have embarked on any adaptation of Jane Eyre on my own, but I’m very glad it happened. They asked me to direct and through that production I understood why they had such a strong connection to the classics of the past, because they reflect so much of the present. Also, you have to admit, Gothic literature always involves terrific storytelling.

Michael’s direction and workshopping of Dickens’ A Christmas Carol led to a classic five star production that is now an annual Christmas production at QPAC, receiving rave reviews.

And so to Holmes, one of the most iconic characters in English literature.

C: Why Holmes? What is it that drew you to him?

M: Why not Holmes? He is that most inspiring of characters…a flawed human being. His flaws counter-balance his brilliance and allow us to connect with someone whom otherwise might be unreachable. Conan Doyle isn’t given the credit he deserves. Holmes is seen by some as just a caricature…a detective when detectives scarcely existed. But the more we know about him, the more insight we gain, the more extraordinary he is.

C: So it’s always about character first with you? A man after my own heart!

Michael chuckles.

M: Not so fast. I do need to know what my story is, what I’m saying, where I’m going, first. But once I do, then of course it is the character driving the narrative. How else to tell the story? But Watson is equally important…without him, it’s difficult to approach Holmes. When I read Conan Doyle’s The Final Problem it felt somehow unfinished, even though, presumably, Holmes and Moriarty fall to their deaths together, only to find out that Holmes survived. He was never quite the same again though…and that’s intriguing. So, there is an element of what all writers love the explore…the “What if?” factor.

C: Perhaps that’s why he called it The Final Problem rather than the Final Solution?

M: Perhaps - I needed to explore the whole Holmes and Moriarty relationship - Holmes’ obsession with someone he only meets once in all of the books. So I used that to create a NEW story…I have to stress that The Mystery of the Valkyrie won’t be found in any of the Conan Doyle Collections, it’s my own interpretation of that relationship. In fact, in my new play, there are multiple scenes between Holmes and Moriarty. I loved exploring the interaction.

C: You will know, of course, that some academic discussion suggests that Moriarty is, in fact, the alter ego of Holmes himself…the dark side…in a Jekyll and Hyde type context?

M: Yes…it’s fascinating, and certainly worth discussing. But this play isn’t that cerebral. I owe it to the fans of Holmes, and to the writer, not to indulge in too much speculation. This new play is entertainment for those who love Sherlock Holmes and maybe a few new converts. It’s a big production, a spectacle, a piece of theatre including adventure, special effects, and the twists and turns of a thriller. It’s fast-paced and I hope the audience will be too busy keeping up with the action to ponder more esoteric questions. I hope I’ve created a fun and fabulous night of theatre for all ages… but only time will tell.

The Mystery of The Valkyrie has its World Premiere on March 11^th at QPAC Playhouse.