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In 2005, it was back to Oxford House in Bethnal Green once more for Sherlock Holmes: The Early Years. Susannah and Kate were once more on writing duties, with Jared Dembowski on board as composer and more wonderful additional material from Robbie Hudson. Benet, after three gruelling years, had had enough of us, but Stephen Brown stepped in as director, and Will Barnett stayed with us as musical director. Johnnie, meanwhile, continued to give us the benefit of her wonderful choreographic ideas, and brought Jos Vantyler with her to show us how it should be done (hint: all dance steps look better when performed by, you know, people who can actually dance). Pippa outdid herself on the costume side – oddly we hadn’t taken into account how difficult it would be to dress 17 people in Victorian costume when we picked the theme of the show.
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Holmes was the Mighty Fin’s greatest triumph to date (NB. We say that every year), with a mixture of love story, crime thriller and musical that had the audience begging for more. An arch-criminal (or four), a chorus line that turned into a carriage (not literally), some high-kicking policemen, at least four different romantic storylines, and a twist in the tail, made for a complicated plot but we’re pretty sure we’ve now figured out who did it. It was the butler. Wasn’t it?

Sherlock Holmes playbill
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