A Whodunnit For The Festive Season

Word on the street is that Humphrey Ker and David Reed (the brains behind The Penny Dreadfuls) are about to unleash something festively delightful: SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS. So naturally, I’m rounding up all the insider details for those who, like me, live for an evening of high-stakes drama, witty repartee, and a sprinkling of Yuletide magic.

The Playful Marriage Of Comedy And Crime

It’s not every day that you see Sherlock Holmes tangled up in a pantomime-style caper, let alone one peppered with jaunty Christmas tunes. Yet that’s precisely what this new show promises. Running from 14 November 2025 to 11 January 2026 at the Birmingham Rep, SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS sets our favourite Victorian detective in the heart of London’s holiday season. Think frosty cobblestones, jolly street vendors, and plenty of Dickensian atmosphere—only this time, the West End is abuzz because actors are dropping dead mid-scene. Scotland Yard can’t seem to spot any foul play, but Holmes notices an uncanny link to *The Twelve Days of Christmas*. Rumour has it that by the time he’s tracked down the “French Hens” and hunted for “Gold Rings,” the entire case snowballs into perilous territory involving, of all people, a “Mother Goose.”

On paper, it’s borderline preposterous, which is exactly why it’s so enticing. There’s nothing quite as satisfying as a Sherlock Holmes mystery that refuses to take itself too seriously. And if we know anything about The Penny Dreadfuls, it’s that they excel at blending old-school sensibilities with a twist of modern mischief. Their comedic style, often described as “historical sketch comedy,” has a loyal following thanks to shows that juggle authenticity and irreverence in equal measure.

An All-Star Creative Team

Of course, no comedic whodunnit can flourish without a capable and imaginative creative team. For this production, the dynamic directing duo Phillip Breen and Becky Hope-Palmer helm the show. Both have built reputations for breathing fresh life into classics, and this seems to be right up their alley—treating a beloved Victorian character with the playful irreverence of pantomime.

But the real coup is the reunion of Tim Rice and Andrew Lloyd Webber—the legendary songwriting team whose credits include JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT, JESUS CHRIST SUPERSTAR, and EVITA. If your memory of Rice–Webber collaborations is limited to belting out Any Dream Will Do at family gatherings, brace yourself: the pair haven’t created new material together for quite some time, so this project is already turning heads. In their own words, SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS “is pure mischief. It has the exuberance of a Christmas tree, the joy of a panto and a plot worthy of Conan Doyle.” One can only imagine the songs—likely to be the sort of catchy earworms that leave you humming in the lobby afterwards.

From Past Successes To Present Anticipation

For a bit of context, Tim Rice and Andrew Lloyd Webber’s previous collaborations have redefined the musical theatre landscape time and again. JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT has been staged in over 80 countries, raking in millions of ticket sales worldwide. JESUS CHRIST SUPERSTAR and EVITA collectively secured them a trove of awards, from Tonys to Oliviers. Data from various theatre trackers confirms that at their peak, these productions drew sold-out crowds night after night, showcasing the duo’s universal appeal. Now that they’re reuniting, theatre insiders are watching closely, eager to see if lightning will strike once more.

Meanwhile, comedic whodunnits have been on the rise in recent years—look no further than the roaring success of The Play That Goes Wrong, which has grossed over £200 million worldwide since its debut. Audiences seem to crave shows that subvert traditional theatre’s rules, delivering something fresh, unpredictable, and side-splitting. Throw in the festive spirit, and you have a recipe for a potential runaway hit. Birmingham Rep, with its roughly 800-seat auditorium, is the perfect proving ground. It’s large enough to generate a jubilant atmosphere but still intimate enough that you’ll catch every witty aside and comedic nuance.

A Feast For Sherlock Fans And Newcomers Alike

You might be thinking, “But I’m not a die-hard Sherlock Holmes fan—will I still enjoy it?” Absolutely. Whether you’ve read Arthur Conan Doyle’s short stories cover to cover or merely recognise the phrase “Elementary, my dear Watson,” there’s plenty to sink your teeth into. SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS tips its deerstalker cap to canon references, from nods to Baker Street to sly winks at old adversaries. Yet it sprinkles those references within an accessible, panto-style framework. The result? A show that stands on its own, even if you can’t recite Holmes’ most famous quotes by heart.

Plus, the plot trades on the concept of “The Twelve Days of Christmas,” a tradition so deeply woven into Yuletide culture that it’s bound to resonate. There’s something deliciously macabre about seeing these benign symbols—turtle doves, gold rings, and so on—transformed into clues in a murder mystery. It tickles the imagination and offers that unique blend of warmth and menace that Christmas theatre can pull off so well, especially when decked out in Victorian trimmings.

An Unexpected Layer

One element that’s been piquing my curiosity is the character Athena Faversham—an additional detective who’s apparently brought on board to help Holmes and Dr Watson crack the case. Historically, Sherlock has relied on Watson’s loyal companionship, with a smattering of aides like Inspector Lestrade. But this new figure suggests the writers are intent on refreshing the dynamic. Perhaps Athena provides a contemporary lens on the old-fashioned detective work, or maybe she’s there to challenge Holmes in ways we’ve never seen. If The Penny Dreadfuls’ track record is any indicator, they’re quite adept at inserting resourceful female characters into traditionally male-dominated narratives. That alone could be a welcome—and enlightening—twist.

Backstage Buzz And Festive Flair

The corridors of the Birmingham Rep are already buzzing with excitement. Theatre staff have hinted at lavish set designs that combine the moody gaslit London aesthetic with the bright colours of holiday decorations. Rumour has it the production will feature a handful of cameo appearances by well-known West End actors, though those details remain hush-hush for now. If you’re the sort who loves surprises, keep an eye out; the creative team behind panto-style shows often slips in hidden jokes or short appearances by local celebrities.
And let’s not forget the music: though we’ve yet to hear a single note, the idea of a brand-new Rice–Webber score is tantalising enough to make musicals fans salivate. Given their past oeuvre—from Don’t Cry For Me Argentina to Close Every Door—we can anticipate some show-stopping moments. They’ve described the piece as “unashamedly fun,” which I take to mean a playful, melodically rich set of tunes that might even encourage a bit of audience participation. After all, it is a Christmassy production—there’s no harm in letting your hair down and singing along if the mood strikes.

A Timely Revelation For Holiday Theatre

When we think of Christmas theatre in Britain, certain staples come to mind: the family panto, the endless revivals of  A Christmas carol, and the occasional Nutcracker ballet. While those are undeniably cosy traditions, the landscape can become a bit predictable. That’s precisely why SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS feels like such a breath of fresh air. It takes something familiar—the figure of Holmes, the holiday setting—and unravels it in a playful way. If, like me, you’re the sort who adores Christmas but hungers for novelty, this might be the best ticket you buy all year.

Adding to the excitement is the factor of limited availability: once we roll past 11 January 2026, that’s it. Shows that intersect with Christmas often have brief runs, intensifying the sense that this is a must-see event. There’s an almost carnival-like atmosphere to the ephemeral nature of holiday shows—blink, and you’ll miss it. So if you’re keen, now might be the time to pencil it into your calendar.

Theatre is at its most magical when it pushes boundaries and dares us to embrace the unexpected. SHERLOCK HOLMES AND THE TWELVE DAYS OF CHRISTMAS seems poised to do exactly that: marry suspense and silliness, transform beloved carols into comedic clues, and showcase the triumphant reunion of Tim Rice and Andrew Lloyd Webber. All of this, wrapped in a Victorian bow and infused with the festive spirit of the season. Whether you come for the detective intrigue, the toe-tapping tunes, or the prospect of seeing Holmes slip on a comedic banana skin (metaphorically speaking—or perhaps literally?), you’re likely to leave with a grin and a head full of hummable tunes.
Amid the flurry of holiday offerings this year, my bet is that Sherlock’s latest escapade will stand out as an unforgettable night of theatre—equal parts spine-tingling mystery and merry frolic. And if you do decide to join the investigative fun at Birmingham Rep, be prepared to view the Christmas season in a whole new light. After all, once you’ve seen turtle doves and calling birds woven into a murder plot, it’s hard to look at your Christmas decorations the same way again. Enjoy the show, and may your curiosity be as keen as Holmes’ magnifying glass!