Two versions to choose from: The Original Version and a Clean Version!
This is the first play in the WATSON Series!
Watson: The Last Great Tale of the Legendary Sherlock Holmes tells the story of a good man trapped in the shadow of a great man. Funny, moving, and theatrically inventive, this high-energy play balances witty comedy and dramatic mystery to recount the last great tale of the legendary Sherlock Holmes as seen through the eyes of his trusted friend and colleague, Dr. John H. Watson. From pantomime to Punch and Judy, and with the theatrical ingenuity of Broadway’s The 39 Steps, Watson tells a grand tale of heroes and villains that will captivate your audience until the very end!
For the clean version click here!
Watson begins in 1894, outside of an abandoned 221B Baker Street. Dr. John Watson has returned at the behest of a mysterious Gypsy’s cryptic admonitions. There he finds a manuscript he wrote and abandoned years earlier. As Watson reads, we are transported to Baker Street in 1891 and are introduced to a drug-addled Sherlock Holmes. Holmes, quite paranoid, begs Watson’s help in transporting a small box to the embattled island of Cyprus, while avoiding the clutches of the nefarious Napoleon of Crime, Professor James Moriarty, crafty Russians, and the ever-hated Turks.
Onboard a steam train, Holmes survives an attack from a gang of Turks, and Watson reconsiders his journey. The two part ways after arriving at Dover Priory Station. At the edge of the White Cliffs of Dover, Professor James Moriarty accosts Holmes. Holmes connects him to the attack on the train. Before he can deduce the Professor’s intentions, Moriarty pounces. They both plummet off the cliffs. Sherlock survives, soaking wet, but none the worse for wear. He reveals to Watson that the box they are to carry was sent directly by Queen Victoria. This fact and a note threatening Mary’s life, delivered via messenger, convince Watson to continue.
Across the English Channel and into Paris, Holmes and Watson meet their contact: Sherlock’s former love interest and rival, Irene Adler. She leads the duo on a thrilling horseback chase to Vienna against a gang of Turks. In Vienna, Sherlock is subject to an intervention by the outrageous and controversial Sigmund Freud. Barely holding on to sobriety, Holmes falls apart in Budapest. Moriarty, who survived the fall off the cliffs as well, surprises them, shoots Holmes, and knocks Watson unconscious.
In the court of Queen Victoria, Mycroft Holmes, Sherlock’s older, smarter brother and point man for the mission, delivers the bad news. Victoria reveals the box, if not brought to a confidential summit on Cyprus, could propel England and the world into conflict. Meanwhile, Watson wakes up in the clutches of Moriarty. In Budapest, Irene finds the mortally wounded Holmes. He holds on to life just long enough to express his affection for her.
Watson awakens in a minaret in Istanbul. He proceeds to out the Professor as a traitor to his nation in league with both Russians and Turks. As one last moment of cruelty before killing Watson, Moriarty reveals Mary is still alive. Watson, steeled by the news, escapes the minaret and defeats Moriarty. Watson finishes the trek to Cyprus and returns the box to the Queen at the summit. Watson resolves the conflict between the Turks and Russians before returning to his home and wife.
As he concludes his tale, Watson realizes he was not alone on Baker Street. The Gypsy applauds his accomplished storytelling before letting Watson in on a story of her own: that she is actually the master of disguise, Sherlock Holmes. He faked his death to ferret out Moriarty’s minions. Holmes urges Watson to publish the tale and rekindle their partnership. Watson declines and sets off on his own, as his own man and hero of his own adventure.
Inventive, epic comedy.
–Los Angeles Times
John Watson – Male, mid-30s–mid-40s. The agreeable and bumbling sidekick to Sherlock Holmes who becomes a hero.
Sherlock Holmes – Male, mid-30s to early 40s. Arrogant, tortured, and paranoid with a romantic streak. Adept at physical comedy.
Professor Moriarty – Male, late 30s to late 40s. The reptilian arch-nemesis of Sherlock Holmes. Will begin the play as a stagehand, as well as playing six characters in Victoria Station.
Sigmund Freud – Male or female, early 40s to early 50s. Zany Austrian doctor with unusual methodology. Will potentially double as Queen Victoria.
Mary Marston – Female, mid-20s to mid-30s. The concerned, understanding wife of John Watson. Must sing.
Irene Adler – Female, mid-20s to mid-30s. Tough, brash, and intelligent. She is the only woman to outsmart Sherlock Holmes.
Mycroft – Male, late 30s to late 40s. Snide, unkempt, and quick with an insult. He is Sherlock's older, smarter brother.
Stagehands – All types and ethnicities; male and female. They play actual stagehands, moving set pieces on, off and around the stage as well as various supporting characters throughout the play. Must be athletic and versatile actors who can play several distinct characters within the course of the play. The stagehands almost never leave the stage and play an integral part in the story’s action and the play’s theatricality.
Setting: Simple settings suggesting Baker Street, a steam train, Paris, Vienna, and the Court of Queen Victoria.
Performance Royalties for AMATEUR and EDUCATIONAL Groups begin at $100.00 per performance for theaters under 150 seats, and rise depending on ticket prices and theater particulars. Please fill out an application for your personalized quote.
Performance Royalties for PROFESSIONAL Theaters will be quoted as a box office percentage, with a minimum guarantee based on ticket prices and theater particulars. Please fill out an application for your personalized quote.
An Authorized Materials/Rehearsal Package must be purchased from Stage Rights as a part of your licensing agreement (see Materials).
Billing responsibilities, pertinent copyright information, and playwrights' biographies are available in the show rider that comes with your license agreement.
"Go!" "Delightful and at times inspired production with moments of comic mastery." –Steven Leigh Morris, LA Weekly
"In spite of a thrilling plotline worthy of Doyle himself, the true genius of this magnificent production lies in its constantly inventive staging." –Pauline Adamek, Artsbeat L.A.
"Hilarious and very entertaining." –Terry Morgan, LAist
"What Robledo’s Watson, The Last Great Tale of the Legendary Sherlock Holmes proves is that the only thing that could kill Sherlock is dying from laughter." –Ed Rampell, Jesther Entertainment
"A comic delight. A worthwhile comic endeavor." –Maraky Rogers, Broadwayworld
"If you enjoy watching absurdist comedy using skilled and highly exaggerated theatricality, you don’t have to be a detective to search for the laughs in Watson: The Last Great Tale of the Legendary Sherlock Holmes. It will thoroughly entertain you and leave you laughing." –Mary L. Clark, The Column Online
"Bottom line; Watson is a fun time at the theatre." –Nancy Ghirla, The Messenger
An Authorized Materials/Rehearsal Package must be purchased from Stage Rights as a part of your licensing agreement. Your materials will be sent to you two months prior to your opening date, unless other arrangements have been made in advance with your Stage Rights Licensing Representative.
The Authorized Materials/Rehearsal Package for Watson: The Last Great Tale of the Legendary Sherlock Holmes consists of:
19 Production Scripts / $220.00 (shipping included)
Production Scripts for Plays are professionally printed and bound with a full-color cover.
You will have the option to purchase additional Production Scripts at a discounted rate when you complete your Licensing Agreement.
Official Logo Pack Now Included! To help you promote your show, Stage Rights now includes a logo pack with your license. The logo pack includes high resolution versions (both color and black and white) of our show logo. The logo is the portion of the artwork with the title of the show. The surrounding artwork is also available for an additional fee.
Incidental Music Tracks
Stage Manager’s Script – Printed on standard 8.5” x 11” 3-hole-punched paper, with the same page numbers and text as the Printed Production Scripts, but with more space on the page for notes and cues.