Episode 300: Sherlock & Co.'s Sherlock

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
You may think you know where this episode's guest got
his inspiration for Sherlock Holmes.

Speaker 2 (00:06):
Indeed, but you'd be wrong. I didn't say this when
we were recording, but when I listened to the podcast,
I genuinely forget. I forget it's me. I just sort
of think you're just listening to and you're getting so
into it, and then you think, hang on, oh yeah,
I remember saying that bah bah blah. Because it's just
the speed, the way that they do it, I think,
is it still blows my mind.

Speaker 1 (00:25):
Support for I Hear of Sherlock Everywhere comes from MX Publishing,
with the largest catalog of new Sherlock Holmes books in
the world. New novels, biographies, graphic novels, and short story
collections about Sherlock Holmes. Find them at MS publishing dot com.

Speaker 3 (00:42):
And listeners like you who support us on Patreon or
substack sign up for exclusive benefits at Patreon dot com,
slash I Hear of Sherlock or I Hear of Sherlock
dot Substack dot com.

Speaker 1 (00:57):
I Hear of Sherlock Everywhere Episode three hundred Sherlock and
Co's Sherlock.

Speaker 4 (01:03):
Head of Sherlock very well since Julie gave us strong Man.

Speaker 1 (01:09):
In a world where It's always eighteen ninety five. It's
I Hear of Sherlock Everywhere, a podcast for devotees of
mister Sherlock Holmes, the world's first unofficial consulting detective.

Speaker 2 (01:25):
I've heard of you before, Oh Holmes, the Medland Holmes,
the Busybody Homes, the Scotland Yard, Jacket Office.

Speaker 1 (01:36):
The Game's afoot As we interview authors, editors, creators, and
other prominent Sherlockians on various aspects of the great detective
in popular culture. As we go to pest, sensational developments
have been reported, So join your hosts Scott Monty and

(01:56):
Bert Walder as they talk about what's new in the
world of Sherlock Holmes.

Speaker 2 (02:02):
Kind of bit of time. I'm Mill Curtis.

Speaker 4 (02:07):
This is I Hear of Sherlock Everywhere.

Speaker 1 (02:10):
Now Here are your hosts, Scott Manty and Bert Walder. Ah,
thank you, Bill Curtis. Welcome once again to I Hear
of Sherlock Everywhere, the first podcast for Sherlock Holmes devots
where it's always eighteen ninety five. I'm Scott Monty, I'm
Bert Wolder and Bert you you are my bos well.

Speaker 3 (02:34):
Really, yes, yes, Well I've got to go down to
the bas and draw a cup of water from that.

Speaker 1 (02:41):
Well, get to work, will you. We're parched around here.

Speaker 3 (02:46):
I'm running out of my shirtcuts. I'm scribbling as fast
as I can.

Speaker 1 (02:50):
I look forward to your work being publicized, and I
will go across London and tell everyone that they should Well,
if they should tire of London and they tire of life.

Speaker 3 (03:04):
Well I have to wake them up first, I think.

Speaker 1 (03:08):
Well, I've got just a thing to put them to sleep.
Another episode of I Hear of Sherlock.

Speaker 3 (03:13):
Everyone, no, no.

Speaker 1 (03:15):
Oh, this is going to be a really good one.
And for those of you who have looked at the
title of the episode, you've figured it out already. We
have a special guest today, mister Harry Atwell, the actor
who plays Sherlock Holmes on the award winning and acclaimed
Sherlock and Co. Podcast by Golhanger. You may recall we

(03:35):
had Joel Emery, the writer for the show, on episode
two seventy five. So how appropriate is this on episode
three hundred that we market with that show's Sherlock Holmes
should be exciting? Yeah, Well, just a note if you
would like to get all the show notes for this,

(03:57):
just check whatever app you happen to be listening to
us on, or to ihear of sherlock dot com. You
can sign up there for text updates as well. In
between shows, we have various items that we may write about,
book reviews, discoveries, etc. And if you would like to
be notified about that, you can simply sign up for

(04:19):
email updates there as well. But of course, wherever you
happen to be listening to us now, we'd appreciate it
if you subscribed to the show, went back and listened
to our archive of some my goodness, eighteen seasons worth
of shows. We are now on episode three hundred, streaming

(04:39):
very confidently into the new year in just a month's time,
so please join us and have fun while you're at it.
Of course, if you'd like to get in touch with us,
we are available at comment at ihear of sherlock dot com,
and if you'd like to leave us a voicemail, you
can call five. I have eighteen ninety five to twenty

(05:02):
one B five. That's five one eight nine five to
two twenty one twenty five. Okay, that sounds like it's
time for the Srilokian news, all the news that fits

(05:24):
we talk about for kick us off here.

Speaker 3 (05:28):
Bang well the best place, best place to kick us off.
As anniversaries and there's the fortieth Anniversary screening U celebrating
the fortieth anniversary of the Jeremy Brett Grenada series and
that's in the UK. There's a special event at Riverside
Studio Sunday the fifteenth of December, and this is a

(05:50):
joint thing with the Jeremy Brett Sherlock Holmes Podcast. Are
pals who we have talked to in the past are
getting together to bring us you special set of screening
celebrating the anniversary of this great Jeremy Brett series. They're
going to be showing The Solitary Cyclist and The Devil's
Foot and having a great conversation there and I wish

(06:12):
I could be there for that. It's going to be
in London on the fifteenth of December and they've got
a whole bunch of guests confirmed, including Violet Smith from
The Solitary Cyclist, the actress Barbara Wiltsher, Gary Hopkins, the
writer of The Devil's Foot, costume designer, other actors, it's
going to be a lot of fun. I wish I
could be there.

Speaker 1 (06:33):
Oh boy, wow, Well they keep August and Luke just
keep going. They've got wonderful material to work with. And
you know, forty years on now, sadly a number of
the principles involved with the show are no longer with us,
but it's wonderful that they can get some of the

(06:54):
folks who still are, so hats off to them. Similarly,
in the anniversary slot, I want to wish a happy
anniversary to our friends at Baker Street Elementary. This was
the brainchild of Joe Fay and Steve Mason and Rusty
Mason ten years ago. Kind of a Peanuts inspired strip

(07:21):
of many of the characters we know from the Sherlock
Home Stories as they were children in elementary school or
junior school, as folks overseas might know it. It's been
a cute strip. It's been a weekly and wet I
hear of Sherlock everywhere every fortnight. Have been promoting it.

(07:42):
We've been syndicating their thing for eight years and crazily enough,
have been providing an essay for each one of those
I can't imagine I haven't gone back to look at
eight years worth of these essays, but that's a lot.
That's a lot of us for these wonderful little strips.

(08:03):
So check that out on the I Hear of Sherlock
Everywhere website, and happy anniversary to Joe, Steve and Rusty.

Speaker 3 (08:13):
Well. And then you may be noticing, if you're looking
at the calendar that the holiday season is approaching, and
if you are interested in filling out your Christmas lift
list a little early and suggesting things that you, as
a Sherlock Holmes fan, would like to receive, you could

(08:33):
first consult Best of Sherlock dot com. We'll have a
link to these in the show notes and get a
list of terrific Sherlock Holmes books, DVD's and Blu ray discs.
You can go to MX Publishing, our sponsor and look
at their incredible library of things and you can get

(08:54):
I think we've mentioned this before, the new twenty twenty
five Sherlock Holmes Calendar, the daily calendar that's come out. Also,
Amazon dot com has a great list of Sherlock Holmes
gifts and we'll have links to all those things in
the show notes.

Speaker 1 (09:10):
Love the Sherlock Holmes Calendar and Interestingly enough, if we
look at the entry for today, which is November thirtieth,
it was on this date in twenty ten that Graham
Moore's The Sherlockian was first released. And Bert, I don't

(09:31):
know if you remember, we spoke to Graham Moore.

Speaker 3 (09:34):
Oh I do way back Oscar Oscar winning Oscar winner, Graham.

Speaker 1 (09:38):
Moore, Yeah, Oscar winner, that's true. He was all the
way back on episode thirty, Episode thirty Wow, And it
was our first episode of season four. So we'll have
a link in the show notes to our interview with
Graham Moore, who, interestingly enough, is the this speaker at

(10:01):
the BSI Distinguished Speaker Lecture this year.

Speaker 3 (10:05):
Oh, it's going to be great to hear him. He
is a creative powerhouse and you're real folks, you really
will enjoy just listening and talking to him. And since
we spoke to him, he's just produced so many things.
I mean, I am one of my favorites that he produced.
I think he may also have directed. It was a
great play with Mark Ryland's the name of which that

(10:30):
I can't quite remember, but off the top of my head.
But he's just produced so much and he's such a
creative force and it was a great conversation with him.

Speaker 1 (10:40):
Well, we should take full credit for his success. Yes, yes, yeah, plainly. Well,
last piece of news is PBS Holmes Versus Doyle. Popular
historian Lucy Worsley is going to investigate the love hate

(11:03):
relationship between Sherlock Holmes and his creator in a three
part series premiering on PBS in the US on December eighth,
will run each Sunday from December eighth through twenty second.
You want to check your local listings for that. But

(11:23):
this is Lucy Worsley looking at this. Well, I think
what we've come to know in the Sherlockian movement, as
you know, fiction read meets reality. Beginning with episode one,
The Doctor and the Detective, social trace Doyle's early days
as a medical student and physician, an unsuccessful physician, and

(11:46):
what actually drove him to become a writer.

Speaker 3 (11:50):
Yeah. I think the betting on Holmes versus Doyle is
eight to two favor of Holmes for a TKO in
the third round, and I'm going to take a piece
of that.

Speaker 1 (12:01):
Well, if it's anything like the Jake Paul Mike Tyson fight,
I think it's going to be a snoozer. But this
is going to be much better I can imagine. And yeah,
just a note for our dedicated listeners. We have attempted
to get Lucy Worsley on the show before and she
hasn't responded to our riggles wriggles away. I know, doesn't

(12:23):
she know who she's dealing with here? Or let me
put that another way, she knows who she's not dealing
with here. Well? I think that about does it for
the Sherlockian News. If you have any items, if note

(12:43):
you'd like us to include in the news, just shoot
us an email a comment that I hear of Sherlock Doc.
The holiday season is upon us in twenty twenty four
is almost here, which makes it the perfect time to
get over to MX Publishing dot com and get yourself

(13:05):
or someone you care about a twenty twenty four page
a day Sherlock Holmes calendar. Following the success of the
four volumes of a Study in Illustrations by Mike Foyd,
an interesting collaboration surface between Mike and the best selling
Sherlock Holmes novelist and editor Richard Ryan. The result this

(13:28):
unique and fascinating page a day calendar that is perfect
for Sherlockians. Each of the three hundred and sixty six
days of twenty twenty four. Yes, that's right, you get
an extra day next year features a different image and
some quote from the Cannon and an on this Day event.

(13:50):
But a great way to celebrate Sherlock Holmes every day
and be reminded of the timeless canonical influence in our lives.
Stock is running low, so hurry and grab yours before
they are gone. Get over to MX Publishing in the
link in the show notes, and if you mention the
code I hose col that's ihos e c al I

(14:16):
hose cal, you'll get five dollars off. That's an exclusive
for I hear of Sherlock Everywhere listeners. The twenty twenty
four Sherlock Holmes Page a day calendar from MX Publishing.
Put it on your shopping list today. Harry Atwell trained

(14:42):
at Mountview Academy of Theater Arts and graduated in two
thousand and four. His theater credits include To Kill a
Mockingbird adapted by Aaron Sorkin, Doctor Watson in The Great
Murder Mystery, The Creature in Frankenstein. He was in West
End production zone. Henry the Fifth, The Crucible and Richard
the Second, and in Broadway and West End productions of

(15:06):
King Lear with Sir Derek Jacoby and Hamlet with Jude Law.
His films include Maleficent, The Riot Club, Breathe Love Again,
and People We Meet on Vacation, among others. On television,
you may have seen him in Da Vinci's Demons, may Day,
The Night Manager and Curfew, And of course you've heard

(15:29):
Harry as he's been playing Sherlock Holmes in Sherlock and Co.
Since two thousand and three. Harry Atwell, welcome to I
hear of Sherlock everywhere.

Speaker 2 (15:42):
Thank you so much. It's lovely, lovely to be here.

Speaker 1 (15:44):
Well, it isn't often we ask Sherlock Holmes where he
first met Sherlock Holmes.

Speaker 2 (15:49):
But.

Speaker 1 (15:51):
It seems like we should start there. Where did you
first meet Sherlock Holmes?

Speaker 2 (15:56):
Well? I grew up actually and Agatha Christy child because
of my mum her love of Agatha Christie when we
were younger. It was sort of those that influenced those
TV shows, those books. I suppose that my sister and
myself we were kind of exposed to first, if you will,
and I remember going we used to go to the

(16:17):
local library on a Saturday morning, and there's a range
of children's books called Lady Bird in the UK, which
is sort of I don't know, especially children of the
eighties like me, you were sort of they were the books,
like yeah, shortened versions of classics. I remember one of
a Tale of Two Cities, which is a lot shorter
than Dickens intended, and likewise with The Hound of the Baskervilles,

(16:38):
and I remember reading that when I was younger, and
in fact before I was coming onto the show today.
I googled the cover and or I googled the book actually,
and the cover is whatever one came up on Google
is the one that I do remember, and it's this
haunting image of the hound or the dog what you will.
And I remember reading reading that when I must have

(17:00):
been I don't know, eight nine, ten, something like that,
and that, and along with the film The Young Charlock
from nineteen eighty five, I think the Barry Levinson film.
That was one that my family we rented from the
local video store as we used to in those days,
and I was aware of the character. And I think

(17:24):
in the UK especially and the world over, as your
show proves, it's so ingrained in our history just to
say to somebody or you know, all right, Sherlock Holmes,
you know, if somebody's being a little bit I don't know,
intrusive into your Saturday night, what you got up to,
or if you are trying to you know, pick apart
a problem. I think we throw the word Sherlock at

(17:45):
people so quickly and so like I said, it was
always there, always knew about him. Sunday Nights in the
UK back in again late eighties, early nineties, the David
Suchet Puaro, you know, were such a huge part of
of television watching, equally Jeremy Brett's ITV show. You know,
I had those versions of Sherlock Holmes we used to

(18:08):
occasionally watch. I think my parents watched them, and for
whatever reason, I didn't quite catch on to it early on. I,
like I say, was really aware of certain stories, especially
hond to the basketballs, I have to say, and as
I got older, and which I'm sure will come to
I was able then in my twenties thirties especially to
kind of start to embrace the stories a little more.

Speaker 3 (18:33):
And when you saw people like Sousha and Jeremy Brett
play the character was what was the path to you
to acting? When when did you were you always sort
of a theater kid? When did when did you sort
of make the leap into saying, you know, I like
to portray people like that. That looks interesting.

Speaker 2 (18:54):
Yeah, a lovely question. It was around the same time
I suppose I went to Well, my schooling was what
you would say is very normal state schools in the UK,
so we didn't really have massive drama departments by any means.
So my theatrical kind of bent came from one teacher
when I was in my junior school. I can't think

(19:17):
what you guys would call that over there, but I
was about nine or ten and there was a teacher
who invited me along to a summer I beg your pardon, sorry,
lunchtime lunchtime drama drama classes, and I remember we did
a version of beyer Wolf. And this is sort of
like a bunch of slightly strange eight, nine ten year

(19:38):
olds just being told what to do by this wonderful
teacher called Dorothy Wartho, who was very grand and very
very different to a lot of the other teachers. It
used to be a running joke that if you ever
had to take a note to her classroom and knock
on the door, depending on if you interrupted a lesson
or something. She could be very very ferocious, shall we say,

(20:00):
she was fantastic and a really wonderful character. And I
attended a few of these lunchtime classes and she through
and when she retired from the school through another teacher
passed on a message to me to say that there
was a local amateur theater group which is in a
place called Broadstairs in Kent, southeast and southeast England, very
close to Dover, Canterbury, that sort of way. And it

(20:22):
was a local group which was called the Dickens Players,
and every June, I think it is, there is which
still happens these days. There's the Dickens Festival in Broadstairs,
which is a week long festival of lots of events
and talks, and there's historical sites where he stayed and
lived and worked. And they put on a production every
year based on an adaptation of one of his one

(20:44):
of his books, and they also did other plays throughout
the year, and they were doing I'm going to remember now,
I think it's it was a double bill. I think
it was the Browning version followed by a play called
The Italian straw Hat, which I can't remember the play
right now, but they needed some wedding guests and I
was this young lad in this play as a wedding guest,

(21:06):
and I remember being a bit of a mix really
of sort of terrified but so enthralled. And it was
the people who were in the group. It was I
don't know how to describe it. Like I mentioned Dorothy earlier,
there was some wonderful characters and there were people who
I hadn't really come across in my life. My family,

(21:27):
I've got my parents and my sister and me were
very close and my dad is retired now, but he
was a London firefighter. My mum who did amazing different jobs,
so she worked in hospitals for years, a physiotherapist and
different different places. But the upbringing, there was never a

(21:48):
sort of somebody within my immediate family. Theatrical We did
used to go to the theater quite a lot. We
went to pantomimes and because of my dad's work being
based in London, my mum is originally from London as well,
so we often visited and went to see West End shows,
predominantly musicals, which I loved and still love, I have

(22:09):
to say, And so it was nice when I was
with these people in the amateur theater group. I was
sort of exposed to to a group of people who
were wonderfully intelligent, wonderfully sort of some of them very flamboyant,
very interesting, and I really sort of latched on, I think,
to the lifestyle, what the perceived lifestyle I think, and

(22:34):
wanting to explore that further.

Speaker 1 (22:37):
Wow, And I mean, that's a fascinating background, Harriet. It
strikes me that we're the family well as none theatrical,
as they were very traditional kinds of employment yet an
appreciation for theater. What was the reaction like when you
told them this is the career you wanted to pursue.

Speaker 2 (22:58):
Yes, again, a very good question. They, I have to say,
incredibly incredibly supportive. Is what I would like to say.
Is kind of like my title of my answer. I
think that they'll be listening to this when it comes out,
and thank you. They know how appreciative I am deeply
thankful to them because there were times when before I

(23:20):
remember the exact moment, I was seventeen, I'd done players
for years, so I've been doing amateur theater from about
like I say nine or ten, so about eight years later,
nine years later, I was doing a this was sound.
I'll try and make this as concise as I can
for it as an answer was it was a local
fringe festival, amateur amateur fringe festival, so very very low key.

(23:41):
It was a reinterpreted episode of a television program which
was called Filthy Rich and Catflap I think, which was
in the UK and the nineteen eighties. I want to say,
the same team behind some comedy programs which were on
in the UK called The Young Ones and Bottom starring
the amazing Rick Mayle and Aide Edmondson. And anyway, it

(24:02):
was it was basically an episode of this redone without copyright,
I'm one hundred percent sure, by some amateur actors. And
all I had to do in this thing, this sort
of short play, if you will, was get punched for
to the floor and I had a sugar glass glass
smashed over my head and I remember laying there and
rehearsal was on the floor. This was, you know, probably

(24:25):
nine thirty on a Wednesday night. My parents used to
drive me to these things before I could drive myself,
and so I'd always be aware of if the rehearsal
over ran, you know, I'd have to go out and
apologize for being late coming out. But I remember laying
there on the floor, surrounded by this sugar glass and
just thinking this is brilliant, you know, And like I say,

(24:47):
I had been doing it for a number of years,
but it was that moment and I lay there thinking,
if I can earn a living doing this, you know,
I think I'd be very happy. And that was am
that I've been sort of a round about nineteen ninety
eight ninety nine when I kind of made the decision,
if you will, And I remember, you know, sort of
more or less telling my parents I wanted to be

(25:08):
an actor. And this well as lots of us could
appreciate a lot of your listeners and yourselves. I think
it was the time pre internet, or certainly in our household,
you know, there was no internet. And so in order
to explore how on earth to become an actor, I
had a few friends. I did a couple of youth
drama what would you call them, sort of summers. It

(25:32):
was like a summer workshop in Canterbury in the theater
there called the Marlow Theater, and it was a group
of I think twelve to eighteen year olds, and through
that you met people from all different areas. It wasn't
just my local area, like my amateur theater. And through
that I met some slightly older people at eighteen nineteen
who were going to drama school already. And you know,

(25:54):
again you were sort of the people going to drama school.
It just seemed like when you knew somebody that was going,
it felt so exciting and you were so sort of
ged on as a sixteen seventeen you're thinking, God, I
know somebody that's doing it, that's actually out there and
about to go off to drama school, and it felt,

(26:15):
I don't know, it felt very exciting. And like I said,
those little seeds once they're planted. I think with certain well,
I think with lots of professions. With acting, I always
say it's a vocation, and it's it's something in you.
You know, it sort of burns a little bit sometimes
on the quiet times when you're not acting. It's it
drives you to wait for the next job. And at

(26:35):
that age, it was it was a fire that was
sort of forming.

Speaker 3 (26:39):
Wow, but that's so well expressed, you know, a fire
that was forming. I mean it sounds like, particularly since
doing this for so many years, you know, since you
were nine and ten. I mean it's like you're building
up a battery, you know, and as soon as you
get to drama school and you have an opportunity to
do it professionally, you've just got well this resource in
ny and excitement to plan. What were the what were

(27:03):
the early characters that you play in?

Speaker 1 (27:05):
What?

Speaker 3 (27:06):
What what sort of you know, when you got the
bigger parts? I mean, what did what? What was that like?
I mean, what what what sort of stays in your
mind about building a character and sort of reveling in
that process. And it's sort of an open, dumb, open
ended question.

Speaker 2 (27:23):
But I'm just curious, No, not done at all, A
lovely question. When well, after after school I went to university.
First of all, that was one thing that was my parents.
And again, as I say, ignorance is the kind of
best word I can use with regards to myself, with
what we knew of how to how to you know,
to become a professional actor. So I went to university

(27:46):
in Leicester in the Midlands in the UK, and my
course there was very it was a real mix. It
was live art, it was performance art. It was I'll
confess now, I have a tattoo on my left my
left butt cheek which says God Save the Queen. And
that was for a university piece. That was a piece
of live art which was around royal family and royalty

(28:09):
and it was a course that really, you know that
being a good example, it was a course that made
you kind of bend your mind with regards to what
is expected of performance, what do we consider performance. Whilst
I was at university, in the evenings I found another
great local amateur theater in Leicester called the Little Theater,
which I believe is still going strong. When I was there,

(28:30):
that was the kind of I don't want to say
normal theater because you know, what does that even mean?
But it was what you would you know, pross Arch theater.
It was rehearsals. It was we did plays by Tom
Stoppard and adaptations of Pride and Prejudice. You know, I
was I was kind of doing things which I was
used to from my earlier days of amateur theater. After
university then I went to drama school and I went

(28:51):
to a drama school which was in North London now
has recently moved actually to southeast London called Mountview, and
I just did one year post so that there are
as you well know, I'm sure there are different courses
one can take. It was slightly to do with my age.
I was twenty two. Financially these things well, this is
a real debate still going on in the UK at

(29:12):
the moment, but costs, costs of drama schools, costs of
even auditioning for drama schools are a hell of a
lot of money. And there are people I would say
my background is well, you know, not from I don't
want to say any I don't want to disparage anybody.

(29:32):
My parents work really, really hard, is what I'm saying
in regard to making sure that I could get through
drama school. And I think, I think I still open
thousands and thousands of pounds. Like I said, I said, deeply,
deeply grateful for their sacrifices they made to make sure
that I could be there. So through drama training you
had these opportunities of playing I played Uncle Vanya, and

(29:58):
because it was a shortened core just the year your courses,
you kind of touched on shows or plays such as
Vanya very quickly when I graduated. That was when you know,
obviously then it's so weird. I've spoken to several actors
about this, and that first day after graduation is sort
of so weird because you're stood there and you're like, right,

(30:20):
what do I do now? And I got an agent.
I did get an agent quite soon after graduating to
our school sort of through them. It was. It was
a time when again I think it's very different these days,
but you used to write a lot of letters to
small theater companies, small short film makers, things like that.

(30:45):
I think it also exists, things like that, there's an
amazing London Film School, London Film Academy. I used to
kind of popular TV and your head shots off and
you would hope that somebody would get you in. With
regards to sort of size of part, I think what's
kind of been cot Actually throughout my career I've had
the odd moment where I've played larger parts. And to sorry,

(31:06):
to finally answer your question, bless you. It took a
few years I think for me to really kind of
establish myself in my brain where you feel kind of content.
I think for me, I see myself as somebody who
I'm mainly theater. I do do the odd film, the
odd telly, but with regards to size of role, I

(31:28):
think that a few of the Shakespeare's that I did,
I played Hamlet, for instance, in two thousand and eight,
I think it was two thousand and seven, two thousand
and eight, which was in a slightly shortened version, and
that was one of the first times that I played
a title role, and that was wonderful. And it was
from that. It was in a theatre, wonderful theater in

(31:49):
Richmond and the southwest of London, at a theatre called
the Orange Tree, and it's an amazing theater, really small
in the round theater. I think it must see about
two hundred and fifty two hundred because it's so enclosed
and it's like a cauldron. You're sort of in the stages,
bang in the middle, obviously, and playing Hamlet there was
really special. And it was from that I started to

(32:10):
get seen by bigger theaters, theaters within London that I
worked a few times at the don Mar Warehouse and
I was very very fortunate to be employed in again
another production of Hamlet, where in London I played a
few of the smaller parts, which is always great. I
think I played the priest Affeliate's funeral and a captain

(32:33):
and things like that. I also you understudy. This is
another thing which which I think is a real key
part of my career and what's led to so many
great moments is the parts I've played, but also the
parts I've understudied. And in Hamlet. This is back in
two thousand and nine. I was in Hamlet, as I say,
but I was understudying rosen Krantz, and you know, you

(32:56):
get to rehearse that at different points and it's all lovely.
The production transferred to Broadway, and it was it was
when we went to Broadway, some of the casting had
to change because of a slight rejig. Some people couldn't go,
some people, you know, had other other commitments, and I
was bumped up to Guildenstern, so I swapped sort of
from Rosencrants Brain to gild and Stone. And it was

(33:18):
one of those real pinchery moments, because you know, a
year before I'd been doing a lovely version of the
Three Sisters. I have to say it was you know,
a check off player, which I really adore, but that
was above a pubub and then it really felt like.
A year later, I was on Broadway and I was
playing Guildenstern, and I sort of it took me a
little while for my brain to kind of calculate it.

(33:40):
You know, I had a wonderful time over there, over
on your side of the pond, and it was just
a very odd moment to think, goodness, you know, this
is this is happening, and I'm trying to think of
sort of the those points where you sort of you realize,
you know, it's such a wonderful play, such a wonderful

(34:01):
place as well, my goodness to be doing it over there.
And Guildenstone is one of those roles which is niggerly,
it's tricky. I think it gave me just that kind
of bit of confidence when I came to sight larger
roles again a few years later. The Crucible, for instance,
it's an amazing play which I adore. Arthur Miller and
I did a production at the old Vic Theater in

(34:23):
London in twenty fourteen and that was a real, a
real game changer for me with regards to the rehearsal process.
We had an amazing, wonderful director, Yao Father, who's a
powerhouse of a South African director, and she's wonderful. Her
visions are very strong, you know, which is absolutily all

(34:45):
director's visions are strong, of course they are. But the
way she pushed you and the fervor that was built
up within that production because the danger I think within
that production is so prominent, and I think we were
really allowed to explore as a cast. And I'm still
very close with, you know, with people from that show.

(35:05):
It was a real play that kind of yeah, it
was a great a great time, you know when you
sort of you look back at it, you think again
ten years and you think, my goodness, it was. It
was wonderful, so really good. So that there's a few
there's a few in there.

Speaker 3 (35:18):
Well, you would you would go on to play play
Watson on stage. But before that is this around the
time that you were first where you were in a
play with David Burke, who was of course the famous
Watson and the Jeremy Brett series.

Speaker 2 (35:30):
Absolutely, yes, that that was Hamlet. Actually that was the
That was the production of Hamlet, and that was back
in two thousand and nine and David Well, David's son
Tom Tom Burke is a fantastic actor and he's and
is flying. You know, he's doing wonderful work at the
moment and has been for a number of years. And
what I mentioned earlier actually did the summer the summer

(35:51):
drama course I did. One of the people I worked
with was Tom Burke, and he I played his dad randomly,
and so I kind of met David very brief as
a teenager. And I remember going to stay in their
flat in London and going to the theater with David,
and you know, just such admiration for the man. And
so when the lovely thing I say this to people

(36:12):
often when I work with him. The lovely thing about
my job is there are people that you've admired, watched
on television, and every now and then you're you're able
to be in a room with them and rehearse and
see their process and see how they, you know, pick
things apart and get to work. And David was one
of those people. And I remember him talking like occasionally

(36:32):
he would talk about Charlot Holmes and I'll tell a
story now, which I hope, I hope he won't mind
me telling. I remember him. He was, He's a wonderful man,
fantastic actor. As we know, but very very humorous, very dry,
very lovely company, a lovely company member as well. And
I remember him saying once a story about being in
Charlock Holmes. And it was just as the first series

(36:54):
had aired, I think, and all the first few episodes
had aired, and he said that he saw somebody approaching
him in the street, and and you know, with that
kind of looking recognition which happens sometimes with regards to
the job, people do sometimes clock you. And this man
approached him and said are you And I think David

(37:15):
sort of, you know, a slightly paraphrasing his brilliant story,
but he sort of, you know, puffed himself up ready
to go. Yes, Yes, I I am Watson. And the
man said are you are local gas man? And unfortunately
they thought David was was the chap that fixed the
gas And so I think it's a lovely reminder, as
is always useful with our career, that yeah, never get

(37:36):
too too bog down in what one thinks others are
going to presume with you. But it was it was
great working with him, and with the history of Watson,
and you know, the admiration that people hold him in.
It's it's like I said, a real treat to work
with these people.

Speaker 1 (37:52):
That's a lovely story and I think it's a great
reminder of the difference between a leading actor and a
character man. You you also had a run in with
another doctor wattson future Doctor Watson perhaps at the time
Jude Law.

Speaker 2 (38:08):
Yes. Absolutely, again, very lucky to work with Jude and
that well a number of times. I've worked with Jude
three times. The first was again this production of Hamlet.
Jube was a fantastic Hamlet. A number of years later,
a version of Henry the Fifth and a film as
well called Genius, which is all three of the above,
directed by Michael Grandage, who's a wonderful theater actor, a

(38:32):
big bon theater director, film director, and he does all
sorts of opera and he's a very talented man. And yeah,
really lovely to work with Jude several times, but also
to see his version. I must confess I've only seen
the second. I think it's the second Jude Law and
Robert Downey Junior film, which which I really enjoyed, and

(38:54):
it was a long time before I ever came across
either character as an actor, and very different take of course,
it's you know, it's guy Ritchie. It's what we expect,
that sort of ferocity that he throws it. But yeah,
really again, like we say, really really lovely to cross
paths with these people and all kind of have the
Sherlock connection at some point.

Speaker 1 (39:15):
Well, and it doesn't end there, I mean, you're run
in with Doctor Watson. Also continues, as we mentioned in
your bio, in playing doctor Watson in The Great Murder Mystery,
and that of course was based on that that book
you kept referencing in your your opening, The Hound of
the Baskervills. Talk a little bit about what it was

(39:37):
like to take on this iconic and stalwart companion of
Sherlock Holmes.

Speaker 2 (39:45):
Yeah, it was, well, my first I remember when when
the email came through, you know about the roller and
because it was called The Great Murder Mystery, I think
when the email came through, it pinged up and I
saw the title and you know, you scroll down and
you based on the Hound of the basket Vills and
then it says, you know, we'd love to see Harry
for Watson, and you know, my heart sort of leapt

(40:06):
and it was a real moment of going, my goodness,
you know, how amazing to get those opportunities. I think
auditions are. If you get those moments of being able
to try for these parts, you think, right, I've got
to give it the best crack if it doesn't go
any further. I've had a lovely time exploring for the
for the days and weeks leading up to the audition,
and for me. I you spoke in fact to one

(40:29):
of my former colleagues on that job, Luke Barton, the
wonderful Luke Barton, who played Sherlock in that version as well.
Back in the summer, I remember hearing his episode of
your show, and with Luke and with the others we
formed a very concise version of Hound of the Baskervills.
It was we every I was very fortunate in the

(40:51):
sense I just played Watson sort of throughout the play,
whereas others Luke included sort of doubled and trebled at
different points in order to contain the story in its essence.
So when you read the script, it read brilliantly, It
read sort of very It was what would you say,
sort of obviously moments, As is always the way with adaptations,

(41:12):
things things go, things have to be slightly sort of streamlined.
But it really, it really contained the essence and for
me with Watson, I remember saying in my audition with
the with the director, it was Watson has those moments
I think where we must remember his his army background,
the damage that's done. I think, you know, we I'll

(41:35):
come back to this later. I think when we talk
about sort of me as Sherlock, but with regards to Watson,
he's been at war, you know, and he's struggled, and
there is that real It's the same when you sometimes,
you know, you watch older World War one, World War
two films and everything's kind of brushed off a little
bit with regards to the mental impact that these conflicts
have had on people. And it would have been no

(41:57):
different for Watson. And I think to see raids and
friends fall, to be injured as he is, to carry
that weight. I think that was one thing that I
really wanted to get across, was I I didn't want
it to just be stiff upper lip, off we go
type of Watson. I wanted there to be a depth
to him beyond the There were moments that we did

(42:20):
into that show where he's trying to you know, impress
when Dr Mortimer comes to visit and and there's the
moment at the beginning, with the wonderful telling of the
of the fable, of the story, the history of the
Basket of Plan that there was moments in our version
where Watson was a little bit trying to prove, you know,
I can do this too, when obviously Sherlock is brilliantly

(42:43):
working things out. But as we got later and deeper
into the story, I think Watson's isolation in that place,
sending off these letters not knowing you know, where Holmes
is and what he's up to. No spoilers, but I
think most of your listeners will know exactly what Holmes
was up to. But I really felt by when when

(43:04):
Holmes reveals himself and and and kind of comes to
Watson and explains, you know, what he's been up to
you before they continue to finish. In our version, What's
some really kind of was allowed to have the fear,
I think the genuine fear, the the the it sort

(43:24):
of admitted his his emotional moments that that that that
weren't going to be hidden. And I think we made
that clear in our production that it was a hard,
a hard thing for him to face, a hard place
for him to be with with Holme's sort of revelation.
You know, I've been here all along and it's in ours.
You know, watson't got annoyed that sort of annoyance, So

(43:46):
my god, you know why didn't why didn't you trust me?
Why you know, why couldn't you believe in me? And
I always wanted to get the truth of of Watson,
his loyalty. I think between the two of them is
it's such a lovely, lovely pairing in literature. And I
think one which is going back to Acada Christie. I
think when you look at you know, Puirra and Hastings,
of course you've got exactly that sort of bond and
her influence I'm sure coming from from Watson and Sherlock Holmes.

(44:09):
And I think it was one thing that I really
wanted to make sure that Watson was wasn't just you
know the sidecar, if you will. He sort of he
had his death and he had his strength.

Speaker 3 (44:23):
See it's wonderful. You know you've got this tool kit
and the character of Watson because you know him to be,
as you say, injured army soldiers, seeing comrades fall, and
you know you can approach the character and say you
know this is and you put it well when you said,

(44:44):
you know, you want to show the depth of Watson
and not just the superficial character. But when you came
to play Holmes, you know, that's it's a different sort
of thing because you don't have you know, we just
have just no backstory about Holmes. He's just sort of
there with with these powers, you know, this this this world.

(45:06):
I mean you've you've certainly seen other interpretations of homes,
But how did you approach creating the character of Holmes
for Sherlock and co? Which is you know, just just
voice acting. I mean you've got to do so much,
you know with your voice obviously in that sort of environment.
What what what went through your mind when you know

(45:28):
you said, gee, now I'm going to play Sherlock Holmes
that I'm going to be doing and basically on the radio.

Speaker 2 (45:35):
Yeah, absolutely, I think the first thing that comes across,
well is that responsibility. I think in your brain same
same as the say as the mindset I had with
with Watson and a number of years ago another play
I did was Frankenstein and played the creature, and I
think that was again another part where you go, my goodness,

(45:55):
people have got a real idea of what they think
this this thing is with regards to the creature and
what he may be with regards to Sherlock Holmes. I
when Adam Darrell, who is one of the creators of
Sherlock and Co. Along with Joel Emery who's been on
your show, Joel and they they approached me. It was

(46:20):
it was quite a while before the first episode came out.
It was around about let me think, maybe six No goodness,
it was longer.

Speaker 5 (46:27):
It was.

Speaker 2 (46:27):
It was almost almost a year and a half, I
would say, from from their initial sort of contact with
me and to actually getting everything formed. We had a
few test runs of episodes. We had to we basically
had to audition, you know. Just I've known Adam for
a long time. Adam and I used to work in
front of house at a theater in London until we

(46:49):
used to sell ice creams together and tear tickets and
show people to their seats as is, as is the
actor's way, you know, an evening job is always very
useful and Adam and me we always got on we
are humor and remucked around a little bit on that job,
but had lots of fun and we yeah, we stayed
in touch, but not to the point of, you know,
daily contact or anything. And so when Adam rang me

(47:11):
one day and just said, I knew about Adam and
Joel's previous shows through their wonderful company Holy Smokes, which
is their production company, and they'd done Jackie the Ripper,
which was a brilliant reinterpretation of the jack the Ripper
fable and or a story or history unfortunately not a
fable alas it is history their version of that, and

(47:33):
The Offensive, which was their weekly football Slash with Soccer
podcast which they did and again real admiration for what
they were doing. And I'd recorded a couple of little bits,
little tiny parts for The Offensive. I think I played
a lawyer and a couple of little bits. And Adam
just rang me one day and said, we're doing Sherlock
Holmes podcast comedy drama podcast. And in my brain I

(47:57):
was thinking, he'll say, could you do this or could
you play so and so? And he said, you know,
we'd love you as Sherlock. And you know it's that
moment of sort of going for how wonderful, and then
you also go, oh god, you know, I hope we're
going to do this, and I. As I said about auditions,
I felt like, oh, yes, I know Adam and have

(48:20):
met Joel before. You know, we a long time time ago.
But there was no definite in my head. So I thought, well,
I've got to try and get this right. And I
wanted Sherlock to be again real and grounded and somebody
that we can relate to. But as you said, he's
got these these powers is a strong word, but he's
got these this intellect, he's got this intelligence, he's got

(48:45):
these these ways that he looks at things very different
to anyone else, usually in the room that he stood in.
And I think what I wanted to make sure is
he could come across as approachable personal. I didn't want
it to be that just that uptight sort of with
a guard up. And as you say, because it's all
just oral, you know, people are just going to be well. Wonderfully,

(49:08):
people are listening and that's the brilliant thing. And we'll
come back to this later, but our fan base for
Sherlock and Co. Has been incredible and the response has
been incredible as well for the show, and I wanted
to make sure, of course, every time you deliver these
lines which I think Joel touched on this. The way
that we record Sherlock and co Is. We are alone,
and I record with my laptop and my microphone in

(49:31):
my wardrobe. I have a shelf in my wardrobe. I
set up my microphone, I get a big glass of
water to my side, and I lock myself away in
the spare bedroom. My wife very patiently and the cats
sit in the lounge and keep the television down low.
When I'm recording, and you do the line several times,
you know you're reading the scene. You're trying to sort

(49:53):
of the longer the show goes on, I can hear
the style, of course, Paul Waggett, who's my amazing Watson,
and Martin de Silver, who plays Marianna in the show,
I can hear them now, you know, I can sort
of you can start to kind of piece together how
the scene sounds. Whereas at the beginning, for the first

(50:15):
sixteen months, when we were recording completely cold, you never
heard it back. You never heard like a practice episode
or anything like that. We never got together. So it
was a real thing of going, I need to get
these lines right. So you were able to record several times.
I think Joel said this actually, when you guys spoke
to him, I started off, shall we say, a little

(50:37):
bit cautiously, and I might have sent maybe too many,
too many interpretations of some lines. There's only so many
ways you can shout yes or no. But you wanted
to make sure the options were there, you know, for
the guys to be able to edit it together. And
when the show first came out last year and I
heard the first episode, you know you sort of gow

(51:00):
on earth have they done this? Because Paul Waggert, who
is brilliant Watson, he lives in New Zealand and I
live in a white chapel in East London, and you know,
we're all scattered. We're scattered. And the way that they
do the production, the sound, it's amazing. And so the
more it goes on, the more I try to make
sure I never lose that essence of what I originally

(51:21):
felt about him, you know, keep him grounded, keep him real,
but with an edge. He's got that he's got to
shine about him. And I think it's something to be
aware of, you know, especially in the character which is
so well known.

Speaker 1 (51:34):
Yeah, well, you know what's interesting here is kind of
a dichotomy, or actually two elements are drawn, and see
how you respond, Harry One, You're working, as you say, alone,

(51:54):
horribly alone in your wardrobe. When you just described what
I heard is a lot of passion and a lot
of joy from working in an ensemble cast on stage
where your natural energy comes from playing off of your

(52:15):
colleagues there, and obviously that's impossible in the current setup. Similarly,
you described this evolution of your comfort in the role
and with how it would sound and knowing how your
colleagues have sounded, And it's almost parallel to how Conan

(52:41):
Doyle wrote the stories. You know, in the beginning, he
had no concept as to how Holmes and Watson would
would interact and how their relationship would evolve, And over
the course of forty years he had a certain level
of comfort in writing these two characters when we saw
the friendship and the collegiality between these two men evolve,

(53:05):
and it seems like that it kind of took group
and sprouted in your own interpretation.

Speaker 2 (53:15):
Yeah, absolutely, that's a great point. I think it really
is a different way of working. And I haven't done
a lot of radio over the years, bits and pieces,
but predominantly the times I have done voice work or
radio work, you've got the interaction at least with the
sound engineer, with the director in the other room, through
the through the pane of glass sort of thing, or

(53:37):
the other actors you know, stood around. It takes some times.
I have to say, depending on your your creative flare
that particular day, I think what's fascinating for me as
an actor, especially with theater, there's a real sense sometimes
I get slightly annoyed sometimes if you're doing a long
if you're doing a hard play, you know, every play
has its challenges. But if you're doing a real slog

(53:58):
like like The Crucible, say, you know, over three hours,
a real sort of slog that goes through on a
matinee day, sometimes you know you can you can feel
the energies a little bit down, or people presume it's
going to be down. Some I've got friends that say, oh,
I won't book the matinee because the actors won't be
on it, And you go, my god, if you knew
how many actors would kill you for saying that, Because
every show you're going to give your best, and you're

(54:20):
going to give you all, and that's one of the
that's part of our job. Is to dig deep on
those days where you know, I don't know, you've got
to financial trouble, your boilers broke. We all have these
things that happen, and yet you've got to carry on,
you know. That's the point. People are going there to
be entertained. They don't care if you're if you're slightly lackluster.
The same with Sherlock. If I'm having a day or

(54:40):
if I'm sort of set aside my time, I find
Sunday mornings a they're very quiet in the local area,
so my my neighbors are very quiet, which is useful,
but also it gives me. I love waking up early
on a Sunday. I'll have a have a coffee ready,
and then I'll head into the into the spare room.
Like I said, shut the door and just and just
start each scene as it goes, and it takes Sometimes

(55:02):
if I'm having a bit of a loosey goosey moment,
or I'm not feeling particularly I don't know like I've done,
like I've nailed something. Oh listen back, I will. I
will kind of run back over what I've done. And
as I as I mentioned earlier, I've got better. I
think a kind of trusting, trusting in myself that yes, yes,
that was right for that bit with the long speeches

(55:22):
as Sherlock has at points of course, with regards to
the new ones, if you will, or the end of
the episodes, there's you know, the tying up and getting
everything sorted. They're the ones that for me, I'll have
a good run through looking at them before I start
get going. And then if I flaugh, for if I
make a mistake, I try not to get too annoyed,

(55:45):
because you go, it's good because you've had a chance,
you know, you've had a crack at it, and you're
sort of spending a lot of time in your own brain.
But also because it's it's out loud. You know, I
can hear him, I can hear him coming out. My
Sherlock is there, And like I said, I can rewind
the little bits that I've I've recorded on my computer,

(56:05):
listen back and go nope, not quite there, or you
start to notice the tiny little fluffs and or gabbling
or not quite yeah, just not quite right sometimes and
you send it off. And of course Joel and Adam
are a wonderful writer and directors. They will come back
every now and then they'll send you know, can you

(56:26):
rerecord this? Can you do this? That doesn't quite match
up with what we're looking for, And it gives you
just that little bit of input when you when you
are alone, Like you said that, that relationship on stage,
the relationship with the audience, learn alone with the other
actors is so vital. And for this it's almost you
construct it yourself sort of, you know, I can hear
like I said, Paul and Marta in my brains. And

(56:49):
the few times that I have Adam, our director, he
has joined me several times, I think maybe two or
three episodes because it's slightly social. It's nice to see him.
So the times I've recorded with him, it becomes a
different dynamic because then it's nice not being alone and
he does give me the inputs. And so those few

(57:09):
times that I've been with him again, I've been able
to glean his directing style, how he's sometimes likes certain
bits done. And so when I'm on my own, which
is the majority of the time, again, I sort of
think what would Adam think, what woul Joel think, and
try to try to kind of meet myself in the
middle with regards to yeah, hypothesizing usually.

Speaker 1 (57:28):
Do you ever think there will be an opportunity for
the entire cast and crew to come together and record
in one physical space?

Speaker 2 (57:37):
I really hope. So, yes, what is what we're all
hoping with regards to this? The plan is is to
complete the Cannon, and so we've got a long way
to go. I counted early. I think I've got this right.
I think we've done or at the time of recording,
shall we say that we're currently speaking. We are on

(57:57):
the Sign of four, and the Sign of four is
our first attack of a novel, and first got one
of the longer, longer stories, and that's in ten parts,
and so we have, including the Sign of four, we've
done twenty one of the stories or larger stories, if
you will, which is equated to only sixty one episodes,
and we think how many more there are to come.

(58:19):
We're talking hopefully if people keep listening and enjoying the
show as they have been, we are we're talking for
a number of years, and so it would be lovely,
lovely for us all to be to be able to
be together and actually, yeah, look at each other when
we're saying some of these lines and the pools it's

(58:39):
wonderful when again I can listen to these. If I can,
We'll not deviate slightly. But some of my loves with
regards to what I listen to and i'm washing up
when i'm cooking, I love to listen to audio dramas
when I'm cooking, and I adore let alone of course,
the Clive Merrison and Charlotte Holmes. I've got all of
those downloaded. I've got Stephen Fryes, Charlott Holmes recordings are downloaded.

(59:01):
But I've also got an amazing series called Charles Paris
Mysteries which stars Bill Nye, and they were on BBC
Radio and you can get the whole collection, I think now,
and I can listen to those, and I do listen
to those. I must confess over and over, and there's
something really comforting about hearing brilliant the murder mysteries or stories,

(59:22):
whatever they may be, but hearing them done so well.
And I do listen back to the Sherlock and Code stories,
and I'd sometimes just dip into a random episode when
I'm walking into central London or if I'm going for
a walk in the park, I'll just listen to an episode,
especially just before I'm about to record another one and
try to get that voice back. Listen, you know, listening

(59:44):
to our Sherlock, especially the more recent ones, just to
kind of that there's been shifts. There's been slight changes,
I'm sure since the beginning, because of that relationship between
Watson and Sherlock and that natural progression that happens within
a working and you know, a friendship. Those relationships, they
do progress. And I think the idea of hearing us

(01:00:05):
all together in one room, the way that they somehow
Adam and Joel make it happen, it does. You know,
it's like it's there, but to actually do that, if
and when the time comes, I think I'll probably cry,
if I'm honest with I often cry chaps at at
random things these days. I think it's my age and
I will probably be very emotional. But it would be
very exciting if it can happen.

Speaker 3 (01:00:28):
Well, it's something of it really as a miracle, you know,
putting sure I can code together and no wonder. You know,
you've got this great fan base and so many people
excited about the program. I can imagine if you ever
staged a live recording, you would probably cheerfully fill a
theater of happy people who would be just delighted to watch,

(01:00:52):
to watch you and the cast at the microphone doing
everything live. Of course, it's quite a different preposition. That's
really that's magnificent. What do you What do you think
about Holmes? I mean, you know, you describe him so well.
You want to make him real and approachable, And I
think that's one of the lovely hallmarks of your character
because it's not at all a caricature. And it's so

(01:01:15):
easy to caricature him as sort of an adult drug
addict and you know, a sociopath and this, that and
the other thing. But you make him real, approachable and
yet observant and talented. So you've really you've really built
the character for for the twenty first century. I think
it's it's just so lovely. What do you What do
you think about him? Somebody once somebody once said, I

(01:01:39):
can't remember who it was, that if he is the
last person on earth I would want to have dinner.

Speaker 2 (01:01:43):
With, Yes, perhaps I think he Yeah, he might be
very picky as well, especially in our version. He eats
penne pasta and little nelse. He kind of he's very
specific about his choices. Of what he likes to eat,
he does like ice cream. I have to say that
came up in an episode recently. I think, and actually

(01:02:06):
our reference your wonderful program again, your amazing show, because
you did a great episode which I listened to recently
about neurodiversions, and I think, what we cannot escape and
we have not escaped. And one of our key things,
if I think I'm talking correctly for our show, for
Sherlock and Co. Is to totally embrace the fact that

(01:02:28):
Sherlock is neurodiverse. We live in a time now, twenty
twenty four where we are so much better at really
kind of asking each other how are you? You know,
it's a very British thing which we all joke about
over here. We say how you're doing, and somebody goes, yeah, no,
I'm all right, and then you move on. That's kind

(01:02:48):
of it, you know, yes, I'm all right, that's fine.
It covers a multitude of how you're feeling. But we
do that, and it doesn't mean that every time you
grab a friend you have to really hold them by
the shoulders and say no, tell me exactly how you are.
But the option is there. I feel these days, especially
within workplaces some people. I won't I won't lie. There

(01:03:09):
are times when you know, you can see eye rolls
and you can see people going, God, you know we've
got to tick these boxes nowadays, and you go, well, yeah,
thank goodness, we do tick these boxes with regards to
how people are, how people's mental state can alter on
the flip of a coin. And I think in the
past we have been very quick and still are still are.
I won't say we're at the other side by no

(01:03:31):
means are we, But as a society, as a globe,
I think, and I hope we're getting a lot better
at going that person is the way they are, and
that is the way they are, and that's let's explore
why they are like that, as opposed to going, no,
that's not quite what we want. Change change please. And
I think we looked at Sherlock talking about Sherlock and

(01:03:54):
trying for me to sometimes get such an innocence in
his For instance, in Sherlock and Co. Often Watson will
reference a cultural figure, a popular popular cultural figure. Because
our show is modern and it's you know, it's it's
almost on the day the day that often the day

(01:04:16):
that the show is released is the day that Watson saying,
I'm signing off on this recording, so he's kind of
all the day before. So it's very up to date.
So you know, we'll sometimes be able to reference, you know,
very local issues or the general election that the UK
had a few months back, things like that, so we
keep it very current and Watson will often mention a
film star. There's a there's an episode where Arlock brings

(01:04:37):
up an acting agent and asks for Thomas Cruise because
he's never heard of Tom Cruise, so he presumes he
has to, you know, just ask for it in a
little bit more of a formal way. So we asked
for Thomas Cruse and the person on the end of
the phone very quickly hangs up. I have to say, no, Spot.
But he doesn't follow certain things. But what he does

(01:04:57):
follow Sherlock is a real sense of justice, and he
if he sees things here's things and notices something which
is off, then he'll grab it. I think what Joel,
both of them write the scripts they do. Joel, I
think has peppered so many of the scripts with lovely,
lovely moments where there'll be a list of you know,

(01:05:20):
there's this, are you interested in this are you interested
in this? And as Watson kind of passes over something
that he would think would be very boring to Holmes, Holmes,
here's something senses something in this description of a possible
case or perhaps something to pursue, and he grabs hold
of it. And I think it's those little sort of
prongs that that stick up at the back of his
neck and just go, hang on, there's something there. He

(01:05:44):
takes his time. I think he is very very brusque sometimes.
I think again that's part of his way. He sort
of wants to get to the to the crux of
the matter, or to the to the root of the problem,
and by doing so, he's very brusque and he's very
very I wouldn't say rude. I'll say he's very speedy

(01:06:06):
sometimes in looking for his responses and thank you. Yes,
absolutely efficient, Like my interviewers are sorry, your guest is rambling,
but yeah, precisely, he's very efficient once the once the
problem solved, and by getting there can sometimes yes, be
a little bit a little bit tricky, but that's, like
I said, that's his way, and I think that's that's

(01:06:26):
what we've really discovered with our fan base and I'll
give them a shout out if I can, because they
are I've been overwhelmed. One thing. There are so many
things I have to say with this job that I
wasn't expecting, and I really really wasn't expecting the kind response,
the global response. I get messages on Instagram from people
in India, Brazil, the States just passing on their admiration

(01:06:50):
of certain episodes or how we've covered a certain theme
or something, and I just wasn't expecting it. It was just,
you know, like I said, it was a wonderful job
that came up, and then all of a sudden people
are saying we had a meet and greet actually back
in May I think it was, which was you know,
I think about hundreds of fans came to a thing
and it was myself there and Joel and Adam and

(01:07:12):
and some of our other producers, and these people came in,
this amazing mix of people, especially young. There's a real young,
wonderful group who gifted lots of bracelets and like you
see at Taylor Swift concerts they had. They gave me
so many bracelets with Sherlock written on sherl Sherlock and co.
We love Marianna. You know, it was it was overwhelming

(01:07:35):
to have that sense of the impact that I think
having somebody having Charlotte Holmes portrayed in a way where
some of these young people can really relate to. And
people had their parents had brought them and they said,
I've only just started listening to it because my child
has said, you know, we love it, and they wanted
to kind of you know, be able to listen to

(01:07:56):
into what their kids are listening to. And it was
really overwhelm. Yeah, really lovely to know that our interpretation,
my interpretation of Sherlock has been able to touch a
lot of people or be relatable. I think that's one
thing with a character like him, to be able to
kind of relate, you know, to him in whatever guys
it may be, is really important.

Speaker 1 (01:08:16):
Yeah. And I think this is the thing we've seen
from our perch over the years, is that every generation
has its own Sherlock Holmes. The characters, although they are
fixed in place and time, they were very real for
the moment.

Speaker 5 (01:08:37):
You know.

Speaker 1 (01:08:37):
Conan Doyle was writing for the present day, his present day,
and for that reason, and because he was such a
great storyteller and made things so as you said, real, approachable,
et cetera. People confused Sherlock Holmes with an actual living figure,
even though he was just a figure of literature. And

(01:08:59):
what we're seeing here, and I think we talked to
Joel about this. In Conan Doyle's time, the serial as
it was published through the Strand magazine, you know, the
monthly publications of short stories, and then of course the
serial element of The Hound of the Baskerville's as it

(01:09:19):
was rolled out issue after issue of the Strand. What
you've got now with the podcast is a modern version
of that exact same thing. And this blurring of we're
listening to a podcast about a podcaster, or about a
podcast being made. The lines are blurring, And I think

(01:09:41):
what you just described about the fans, Yes, they understand
it's the show, but it also it translates to that
correspondence that Conan Doyle saw even back then, when people
would write to Sherlock Holmes at two hundred and twenty
one B Baker Street as if it were a physical address,

(01:10:01):
and and lather, rinse and repeat. It keeps going on,
and I think I'd be remiss if I didn't mention
the the similarities. I want you to you know, perhaps
expound upon this, Harry and and talk about the differences
as well with the BBC Sherlock the modern day you know,

(01:10:22):
televised films with Ben at a Cumberbatch, where you know
the same kind of core story is updated to modern day,
and talk a little bit about your perhaps inspiration perhaps
how you wish to diverge from that version, because every
time I hear your voice and I and I hear
Paul's voice, I immediately think of Martin and Benedict.

Speaker 2 (01:10:47):
Yeah. Well, firstly, I've started smiling, so you can't see
obviously on the podcast, but because it's a lovely, lovely
thing to think, you know, again, it's it's the wonderful
world that we're in. For these different portrayals to be
kind of compared, I find it sort of is fascinating.
What I will start with, which is slightly controversial. I've
never seen an episode of Sherlock. But I've never seen it.

(01:11:09):
It wasn't sort of I don't know whether I was
whether I was in the theater, or whether I was
doing other jobs or anything when it was on television here.
I never I was never home or I never I
never tuned in and so I've never seen Cumberbatcher's version,
and I remember when we were first aired, when we
first came out as a podcast, there were comments that

(01:11:32):
cropped up. I think somebody saw them all. I don't
go digging around too much in the comments, but I
had seen that people had said how similar Firstly, how
similar I sounded. But as you say, rightfully, so of
course it's a modern retelling, retelling of these stories. So
I try and cover both of those things. Firstly, with
regards to my performance and Benedict Cumberbatcher's, I think I

(01:11:56):
don't know how to phrase this. There's only so many ways.
I suppose a slightly well spoken this man can can portray,
you know, a certain sort of angle on things or
come across, and I think we we hold a similar
There's a similar quality, of course, there is to our voice.

(01:12:17):
But I think what is is expected of kind of actors.
Sometimes you couldn't sort of portray portray him too differently,
or we haven't chosen to portray him too differently than
perhaps could be could be echoed from before. But that's
that's down to his style, like the character's style of

(01:12:40):
delivering things, of of his responses, I think obviously sometimes
with both shows. I think certainly with ours, we we
take the actual the actual words that that Sherlock did say,
and his certain speeches and things are are direct, sort
of verbatim copies of of what was said in the stories,

(01:13:02):
and so it's ultimately goes back to the root of
the character we're portraying him. But with this voice, you know,
this voice, you can't sort of escape it. After forty
three years I've had it, and it's sort of changed
over the way over the years, and I think I've
never of course I've heard better come back speak as

(01:13:24):
a person in interviews, and I've seen him do other things,
but I certainly have never heard him do Sherlock. And
I've also not ever tried to emulate him and our
version compared to theirs. Like I say, I can only
talk from the conversations I've had with Joel and with
Adam about this, and also with friends from what I understand.

(01:13:46):
Obviously we're carrying on through the whole lot. I know
they did a number and fantastically well and brilliantly, and
so many friends and colleagues that I've worked with have
been involved in that show, and hats off to the
success that it had, and I think it really gave
another lovely boost for a new version. That that's the thing.
It's these new versions, as you said, if different generations

(01:14:07):
will sort of have certain people in mind, and I
think it sort of makes sense that that people want
to do it. It's bringing these stories forward. It's making
the similarly with Elementary the John Lee Miller and Lucy
Low series, which again I've never seen, but I've wanted
to dip in and out of just to kind of
see how these people do these things, you know, see
how the stories are reinterpreted different audiences as will take

(01:14:31):
what they want from each of them, and I'm intrigued
by the comparison. So I think when we do finish,
or maybe even before, I think, you know, I'm sort
of bedded into my shwlock very well by now. So
maybe at Christmas I'll treat myself to looking one of
them up and seeing, yes, seeing how he does things.
But I'm not sure if that quite answered your question really,

(01:14:51):
but it's a very interesting thing to think. Yeah, how
many people do go, gosh, you did you listen to
have you? Have you tried to sort of formulate a
version and it's purely through through. I think my circumstances
at the time just never ever caught the show and
have never come back to it, so at some point
I definitely should.

Speaker 1 (01:15:11):
Well it's just completely uncanny.

Speaker 2 (01:15:13):
Then absolutely I could maybe you have it as a
market if things get quiet, maybe I could. Yeah, I
could try and do phone calls or things like that.

Speaker 3 (01:15:22):
Pretending to do it now, I think, I think, you know,
it's very intelligent of you not to go seeking those
things out. I mean, there are all sorts of stories
about writers who, when they're writing stories, they make a
point of paying attention to not reading other authors that
they like for fear of emulating their stuff, because you've
created a character here that's really different, and and you know,

(01:15:45):
with Homes it's happened over the years. I mean, he
was filmed with actors like Island Norwood and then Arthur
Wantner and then Clive Brooke and Basil Rathbone, and he
was sort of reinvented at every age. It wasn't until
the nineteen thirties they began to film them in a
Victorian setting and then you had you know, Rathbones acting style,

(01:16:07):
and then you had Peter Cushing and you know Robert
Downey Junior, and yeah, everybody sort of reinvents the character.
And just because you know the BBC show like brought
him to the contemporary time, you know, that's a great
jumping off point.

Speaker 2 (01:16:25):
I think, yeah, absolutely, I'm saying that I remember actually
from the meet and greet back in May. I think
somebody asked me about a process or how I do things,
and when I Jeremy Brett again, I do watch some
of those I have to say, on a Sunday morning,
or when I'm not recording, or you know, when You've
got a bit of time, you think, what shall I watch?

(01:16:46):
The joy of television these days? Of course we can,
you know, on demand is a it's a bizarre setting
where you do your own television guy these days, as
opposed to looking through the magazine to see what's on.
You think, hang on, what do I want to watch
right now? And when I it's his posture. And this
sounds strange in a way because of course no one
sees me. But obviously when I'm doing, when I'm when

(01:17:07):
I'm reading the lines, when I'm when i'm doing doing
the big speeches, especially, you know, my hands are going
you have to be careful not to knock the microphone
as I'm trying to do right now, and make sure
you know, I don't have anything sort of like a
clickie shirt or a rustly jumper. But I love Jeremy
Brett's posture, his poise. I think he I sort of

(01:17:29):
you know, he lifts his head. He's got that very
arch sort of appearance, and to kind of go completely
the other way. One of the other people who I
do sometimes imagine I'm almost emulating is the wonderful performance
of Tim Curry in the film Clue.

Speaker 1 (01:17:46):
Clue.

Speaker 2 (01:17:47):
I adored as a child, and I still watch at
least three times a year. I know it word for word,
and it's it's one of those films I go back to.
There are times for me when Sherlock is really going
for in our version, when he's really going for it
Clue and Tim Curry's portrayal as Wordsworth the Butler, he
has this sort of very you know, it's very sensible

(01:18:10):
and very serious at points. Of course it's a wonderful
fast but he has this way of delivering things, and
I can hear him in the back of my mind.
So if there's any amalgamation of copying, because I think actors,
you know, it's often said, you pick, we glean from
other performers what we like, and perhaps we store them
away for the next whatever it may be. And for me,

(01:18:30):
if I'm going to combine anybody, it might be yeah,
Tim Curry, Clue and Jeremy Brett as I'm delivering the
lines that they're they're the two kind of physical influences
despite it being something that we listened to as opposed to.

Speaker 3 (01:18:43):
Watch Oh that's wonderful, fabulous too, Curat.

Speaker 1 (01:18:51):
I would have never considered that. And yet the Clue
is a favorite of mine as well. It's a that
spirit of obviously the murder mystery h and and echoes
of of Neil Simon's Murder by Death, where it's you know,
half force, half mystery, absolutely and and and I think
that that speaks to the fun that you're having here.

(01:19:15):
And and you know, people usually don't think of Sherlock
Holmes as a character uh imbued with any kind of
sense of humor or mirth. Uh And and yet as
a as a working actor, these are some of the
things you need to you know, kind of bring it

(01:19:35):
to your to your of yourself you bring to the character,
but not overtly. And and I think that energy and
and the fun that you have with each other even
though you're alone in a room or alone in a closet,
h it it comes through.

Speaker 2 (01:19:53):
Good. Yeah, I'm really pleased to hear that. Thank you.
It's I have to say, I will off my cap
and or my dear storker if you will, to Joel
and Adam, because when we're recording, as I said, whether
it's twice or three or four times, if we're trying
to get a certain line right, you'll change the intonations,
you'll change the delivery or change depending what's happening. For me,

(01:20:14):
the most difficult things, and I've said this to Adam
and Joel, is the running scenes. We often are chasing
somebody or being chased and you sort of you're sat
there trying to do this running scene in a chair,
you know, whilst whilst legging it along, reading lines, trying
not to knock things over in the wardrobe. So it
could be tricky, but you'll deliver these lines in a
couple of ways, and then as I said, we send

(01:20:36):
them off. And it really I think their masters that
they've made the show because they can hear, they know
what they want, they know what through line they want
throughout the scene, the arc of the scene, or the
whole the whole story, you know. As I say, with
sign of four, it's ten parts, and to try and
keep people with us for ten parts, let alone the
four parts, say, I think silver Blaze it was a

(01:20:56):
four part which was our first four part. I think
or are long at that point. And for the guys
to keep that energy and to keep the scenes flowing
because as we know, our attention spans as modern people
is very different because we've got so many distractions with
you know, our phone can ping, We've got all sorts
going on. To have to have that knowledge that people

(01:21:19):
are listening, are able to listen whilst they're on their
commute to work, whilst they're There's a lovely guy one
of the people I met at the meet and greet
who is a postman and he listens on his rounds
in the morning. And I love that. I love the
fact that we all do that. And as I said,
I do that myself with with audio dramas whilst I'm cooking,
cooking and clean, you know, and thus clearing up the kitchen.

(01:21:40):
I really enjoy the fact that people are able to
do that with our show and Joel and Adams somehow
every week they keep this show so alive and fuzzy
with with I don't know, chases in gunfights and took Took.
We've just had a Took Took chase in Delhi. I
think in the Side of four they do it so

(01:22:01):
so well. It's wizardry with the sound effects and everything.
It's so clever.

Speaker 1 (01:22:06):
Now Here's here's another thing that I've I've wondered about Harry.
With various interpretations of Sherlock Holmes, I think different actors
have brought a signature to the role and it could
be something physical.

Speaker 2 (01:22:23):
You know.

Speaker 1 (01:22:24):
William Gillette on stage of course, introduced the curved pipe,
which just became part of the the legend around Sherlock Holmes.
You know, we saw the the off brand tweed cap
that Basil Rathbone used to wear. It became associated with him,
Jeremy Brett and you know kind of the brooding look,

(01:22:45):
the pursed lips, the you know, the way he made
his eyes work the scene.

Speaker 2 (01:22:51):
And I've noticed.

Speaker 1 (01:22:52):
With you and maybe this is just me, but the
one thing I've picked up as a signature of your
Sherlock Holmes. Is the use of the word indeed is
how much of that is you versus how much of
that is the writing staff?

Speaker 2 (01:23:11):
I would say entirely the writing Yes, indeed and good God,
they're the two that people have asked me to say,
you know, completely out out of the blue, or record
on somebody's voice note for them and things like that.
I think, indeed, yeah, it seems to depending on the circumstance,
but it sort of can sometimes seem to last about

(01:23:33):
ten seconds that one word, and other times I think
Sherlock sort of yeah, uses that one to sometimes agree
in a slightly not not always unkind but you know,
it's sort of if what has made a slightly silly
suggestion or something he can you know, it can be
that sort of indeed, or or with passion with gusto

(01:23:54):
and such as you know, we've retained the game as afoot,
you know, And which is this odd phrase? And I
think it was picked up really early in one of
our episodes. But what I think it's like, that's not
a real phrase, and he goes, yes, of course it is,
and then it's sort of established. It's like right, this
is this is what we're gonna We're gonna own this one.
And I think if indeed is my yeah, indeed is
my manch right, I quite like it. But that's that's

(01:24:16):
down to to droll and yeah, his writing. I think
I will let him certainly take the take the credit
for that.

Speaker 3 (01:24:24):
Oh well, but you deserve some credit for there too.
I mean these these you know, these are empty boxes,
empty bottles, these words, and they need to be filled
up with attitude and message and reaction and personality. And
that's what you bring to it.

Speaker 2 (01:24:39):
Well, good, thank you so much. It's it really is
a treat. And it's that's why you say, indeed, indeed,
indeed should we do a retake? No? No, no, That shows
how much I rely on the writing. You see, curses.

Speaker 1 (01:24:58):
Wonderful. So obviously you've got thirty nine canonical stories left
to record here years in the future, which is, you know,
a wonderful thing for your pension, I'm sure.

Speaker 2 (01:25:11):
But what else?

Speaker 1 (01:25:13):
What else are you working on right now? What should
we look for? Harry Adwell in.

Speaker 2 (01:25:18):
Well, bits and pieces? It is that strange thing, as
always with the profession, it comes and goes, is my phrase,
and I have just done a film which is called
People We Meet on Vacation, which is a lovely, lovely
rom com story. It's an adaptation of a novel and
that I think that appears on Netflix next year, haven't.

(01:25:40):
I won't say My role in that is enormous. It's
nice every now and then to have a cheeky little
guest star, so we'll say yes, Ice Peeled for People
we Meet on Vacation. There's a TV show which is
called Curfew, which has recently been released. I think over
here probably, I'm not sure whether they release these things.
This is on Amount Plus. It's a great premise. Curfew

(01:26:04):
is is this dystopian future where we're not that far
into the future perhaps, but men are curfewed between seven
pm seven am in order to try and make the
streets safer. And this we can argue about that in
a different podcast. But I play again a small, rather
creepy role in that one, and that's recently been released,
I think, and we wait. I think I've said this

(01:26:27):
to the guys tool and to Joel and Adam. One
thing I didn't really think about with regard to Sherlock
and co Is is its consistency has really just been lovely.
It has been what I would say with you know,
it's acting, it comes and goes, and it's been a
bit of a quiet year. I won't lie. With regards
to theater, sayer, I did a wonderful production of To

(01:26:47):
Kill a Mockingbird which was in London in the West End,
which finished last year. And you're always waiting, you know,
you're waiting for the next theater thing, or we're waiting
for the next job. And to have the consistency of
Sherlock recalling every couple of weeks has been wonderful. So
we I sort of look forward to the you know,
the email that comes through with the next script as

(01:27:08):
much as I do, yeah, the next project, because it's
lovely to have that as a have that as a
constant lovely.

Speaker 1 (01:27:17):
Well, I suppose in your free time you can engage
in probably what's necessary at this point and get a
God Save the King tattoo on your other butt.

Speaker 2 (01:27:29):
Cheek exactly to be to be very topical. Yeah, my
views are a little bit different. I'm a little bit
more of a Republican these days. But but again that's
for a that's for a different podcast.

Speaker 1 (01:27:42):
Fair enough, Well, Harry at Well. It has been an
absolute joy to have this dialogue with you, and equally
it is a joy to hear you every week on
Sherlock and Co. Thank you so much for being here
with us, on I, here, of Sherlock everywhere.

Speaker 2 (01:28:03):
Thank you. Honestly, it's been a real honor to be
a part of it. And as I've said to you guys,
I'm a real fan of the show, so to be
a part of your canon is fantastic. So thank you
so so much for having me.

Speaker 3 (01:28:27):
What a joy and what a terrific conversation to hear
the joy in Harry ot Well's voice. You know, I
just love talking to people who are joyful about what
they do. And can you imagine how much fun it
would be to be in a company working with Harry
at Well? And the work here is so great. You know,
he's created in his character of Sherlock Holmes the Homes

(01:28:49):
that's approachable and very different, and they've done such interesting
things in Sherlock and Company. You know, they've created a
Holmes who, among other things, friends, puts my marshmallows in
his tea. Now, if you can, if you could do
something like that convincingly with Sherlock Holmes, you deserve an award.
But it's it's just so much fun to talk to him,

(01:29:11):
and he's you know, earlier on we mentioned Graham Moore
as a creative powerhouse. You know, Harry is a creative powerhouse.
It's just a lot of fun.

Speaker 1 (01:29:20):
It really is. And you know, I was, I was surprised.
I think I can say that to know that Harry
hadn't watched any of the BBC Sherlock before and interestingly
gives us a similar kind of Sherlock. And yet and
yet still manages to put his own signature on it.

(01:29:43):
And I think with his Sherlock, what's wonderful about it?
It is it's it's more of a joyful Sherlock, marshmallows
and everything. But he also appreciates warm hugs. And you know,
isn't the so theopathic kind of Sherlock, the cold and
unattached one that we had before. He's just a Sherlock

(01:30:05):
who's been inhabiting his own world and is still interested
in the world around him, even though he is highly
focused on what he wants to accomplish. So it's going
to be fascinating. Just watch this or listen to this
series continue to build over the next three years. What
a wonderful gift for us to have. It's a chance

(01:30:31):
of listening with your correspondent, Madeline Kimyonez.

Speaker 5 (01:30:37):
Hello everyone, I'm Madeline Kenanis and today I'm here to
attempt to talk about the lackiest, wildest Sherlock in podcast
out there. Sherlock Holmes Isreel. The show is a documentary
a fake documentary started by Bank Foffer in twenty seventeen.

(01:30:57):
It posits exactly what it's te title says that Charlote
Holmes is real or was real, and also that Sherilotkins
societies have been trying to cover up that fact for decades.
Oh and the BBC is in on it too. The
show originally features a hem Alan King, whose voice sounds

(01:31:19):
strangely familiar, as the lead conspiracy theorist. Alan is eventually
replaced by his brother Talon King, as well as by
certified real person Paul Thomas Miller. Talent and Paul take
up the idea that the nineteen fifties TV series with
Ronald Howard and Howard Marion Crawford is real. Documentary footage

(01:31:42):
of Holmes and Watson with Watson being a pioneer documentarian.
At that point, they talked through the series episode by episode,
regularly inviting guests to come on the podcast and discuss
the found footage. In this way, you get to hear
a lot of familiar voices, including my own, although not

(01:32:06):
under my own name. I was playing a character. And
no I'm not telling you which episode it was the
last we heard from Paul. The BBC were surveilling him
and may have taken him captive, which is a disconcerting
turn of events. I'm still hoping to hear that Paul
is back home, safe and sound. In the meantime, let's

(01:32:28):
talk episode recommendations. I actually do recommend starting at the
beginning with episode one, just to get a sense of
the show in general. As far as the found footage
episodes go, I recommend season five, episode seven with Casey Hills,
who's from a different podcast we'll cover at a later time.
Casey fits in really well with the co hosts and

(01:32:51):
it's just a very fun listen. And that's it for now.
Back to Scott and Bert and Happy three hundreds episode gents.

Speaker 1 (01:33:07):
Well, yeah, I mean I was always under the the
impression that Sherlock Holmes was real. Of course everyone knows
that a shock here right.

Speaker 3 (01:33:17):
Well, I guess it shows you how effective the podcast
has been since we all believe it.

Speaker 1 (01:33:22):
There you go. But it is a fun and different show.
And you know, anytime you get Paul Thomas Miller involved
with something, it's going to be a little zany. And yeah,
I guess you could say the same thing about our
friend Brad key Fawber too. So creative minds you unite.

(01:33:43):
I love it, and thank you Madeline for the kind
wishes on our three hundredth anniversary here. I don't know
about you, Bert, but I don't feel a day over
one hundred and fifty.

Speaker 3 (01:33:57):
I feel I actually feel three hundred and more exureance.

Speaker 1 (01:34:02):
You're a three zero one redirect. Yeah, I think fantastic
for all.

Speaker 3 (01:34:06):
My goal is to get to four oh four. I
can only get to four oh four.

Speaker 1 (01:34:11):
Then I'll be somebody a good episode to end on.
I like that.

Speaker 3 (01:34:15):
Yeah, I hose four o four not Found. Well, you
got the title already exactly, episode four oh four Not Found. Yeah,
that'll be easy. Yeah, well, that's going to be fun
to record crickets fifty minutes of crickets.

Speaker 1 (01:34:37):
Chirp as opposed to our usual show. Okay, everyone knows
what that is. Yes, it's everyone's favorite Sherilockean quiz program.

(01:34:57):
It's canonical couplet where we bring you two lines of poetry.
I ask you to test your Sherlockian knowledge against our
meager poetry. If you were around here the last time,
you remember, we gave you this clue. When a man
of questionable ethics lays his past bear, only photographic proof

(01:35:22):
can spoil the affair burden. Do you know which Sherlock
Holmes story we were talking about?

Speaker 3 (01:35:31):
Yes, yes, that is a classic. It's the last recorded
case of Sherlock Holmes on the eve of World War One.
It's the story of a German spy who is stealing
British cattle. And it's the case Watson called his last cow.

Speaker 5 (01:35:52):
Boy.

Speaker 1 (01:35:53):
That's a heffer of a joke. No, it was not
his last cow I'm afraid to say.

Speaker 5 (01:36:01):
Now.

Speaker 1 (01:36:02):
Our friend Eric Deckers throws his hat into the ring.
He says, Aha, this one was easy, and I hardly
had to rely on Google it all. This is the
story of a German aristocrat who becomes a world famous
singer and a band called Cornigan, but is caught in
a sex scandal that threatens his reputation. It's the story

(01:36:26):
Watson called a scandal in Bohemian Rhapsody, except that sounds
more like a fever dream I had. It's more likely
to be a scandal in Bohemia. Ah. Well, that's a
wonderful guess, Eric, But I'm afraid you and most of

(01:36:50):
our correspondence fell into the same trap by guessing a
scandal in Bohemia. And in this case, we don't even
need the spinning wheel because we only had one correct
answer submitted by who's said, Oh no, we just we
got another one in under the wire. Okay, well this

(01:37:11):
is going We got pretty small spinning wheel. Then, uh,
let's see what number we land on.

Speaker 2 (01:37:22):
Red or black?

Speaker 1 (01:37:23):
Yes, ah, it is number one, And in that case
it goes to Douglas Vaughn.

Speaker 3 (01:37:34):
Hooray.

Speaker 1 (01:37:39):
Yes, Douglas guessed correctly that the answer is the illustrious client.
Illustrious client this time when one when a man of
questionable ethics lays his past bear, only photographic proof can
spoil the affair. Hm hmmm, be known. Well, I suppose

(01:38:03):
that means that a scandal in Bohemia is still out
for another another couplet. We used that in the past episode,
and oh, my records show me that Douglas Vaughan won
that one too. Oh really, how appropriate? Well, then he

(01:38:23):
seems to be entirely on point for winning this one
because he's able to discern the two different stories in
the canonical couplet. And if folks are wondering what this
scandal in Bohemia couplet sounded like it was when lovely
Woman to Adventure stoops, she turns the wisest of us

(01:38:47):
into dupes Saudi like that, Well, we will have a
copy of one of Stephen Lee's books off to you, Douglas,
so stay tuned for that. In the meantime, here is

(01:39:09):
the canonical couplet for episode three hundred, of a Great Evil,
Holmes Unearthed the Root. The game was undeniably a foot foot.

Speaker 2 (01:39:26):
Food.

Speaker 1 (01:39:27):
Well, how about we try that again, of a Great
Evil Holmes Unearthed the Root, The game was undeniably a foot.
If you know the answer to this episode's canonical couplet,
put in an email addressed to comment on here Sherlock
dot com with canonical couplet in the subject line. If

(01:39:49):
you are among all of the correct answers submitted and
we choose your name at random. You'll win. Good luck.
Stay tuned for a lovely item from our Sherlockyan vaults
here and I hear of Sherlock everywhere. Well, Bert, we've
wrapped November, We've finished episode three hundred. What do you

(01:40:14):
suppose is next?

Speaker 2 (01:40:17):
Well?

Speaker 3 (01:40:18):
Uh, eternal regret.

Speaker 5 (01:40:21):
Oh?

Speaker 1 (01:40:21):
I was thinking episode three oh one.

Speaker 3 (01:40:23):
Oh, episode three oh one. It's always the simple answer,
isn't it. I should have realized eternal regret. Maybe that's
the title of episode three oh one. Eternal regret and redirects, redirects, redirect. Well,
we will be back here with another fantastic guest, as

(01:40:43):
we always do here on I hear of Sherlock everywhere
until that time. I am the completely redirected Scott Monty,
and I'm wondering what my motivation is. I'm going to
talk to the director.

Speaker 4 (01:40:58):
I'm Bert Wolder, and together we say the names, sir of.

Speaker 1 (01:41:10):
A Foot, the Games and a Foot.

Speaker 2 (01:41:19):
I'm afraid that in the pleasure of this conversation, I
am neglecting business of importance, which awaits me. Thank you
for listening.

Speaker 1 (01:41:31):
Please be sure to join us again for the next
episode of I hear of Sherlock everywhere. The first podcast
dedicated to Sherlock Holmes.

Speaker 3 (01:41:43):
Goodbye and good luck, and believe me to be.

Speaker 2 (01:41:48):
My dear fellow. That is sincerely yours, Sherlock Holmes,

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