Mark Emerson: A Man of Many Faces - Village Theatre

25-26 Season, Mainstage

Mark Emerson: A Man of Many Faces

Behind the Scenes with Mark Emerson and Baskerville: A Sherlock Holmes Mystery

By Ellen Morgan Peltz

Mark Emerson is no stranger to the Village Theatre stage, having appeared in She Loves MeMamma Mia!, Rodgers & Hammerstein’s CinderellaThe FantasticksKen Ludwig’s Sherwood, and Legally Blonde. He’s also no stranger to Artistic Director Adam Immerwahr, who directed him in both The Fantasticks and Sherwood. But their latest collaboration—Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery—takes them into uncharted territory. This time, Emerson isn’t playing one character, or even five. He’s playing fourteen.

Ken Ludwig’s Baskerville, which premiered in 2015 with a coproduction between Arena Stage in Washington, D.C., and McCarter Theatre in Princeton, NJ, reimagines Sir Arthur Conan Doyle’s The Hound of the Baskervilles for the stage. Staying true to the spirit of the original tale, Ludwig’s adaptation adds a comic twist—five actors play more than forty characters.

“This show relishes in the role doubling,” says Immerwahr. “It’s not about efficient casting—it’s about joy. It’s exciting, it’s bravura, and it reminds us why we love live theater in the first place.”

Role doubling has been part of theatrical tradition since ancient Greece. The technique was used consistently and effectively by Shakespeare and is a hallmark of modern hits like Into the WoodsThe 39 Steps, and Hamilton. But even for seasoned performers, the challenge is daunting.
“It’s more characters than I’ve ever done before,” Emerson says. “In some ways, I think about it as an endurance test.”

Like a marathon runner in training, Emerson will use the show’s rehearsal process to build stamina and precision.

To keep his fourteen roles distinct, he’ll draw on three main tools: physicality (changes in posture, gait, or speed), dialect (shifting accents to reflect social class), and intention (what each character wants and why). Applying all that in the rehearsal room requires both courage and trust.

“In order to play all these people, I have to be willing to fail,” he says. “I need to make bold, sometimes ridiculous choices—and trust Adam to tell me, ‘Yes, that’s working,’ or ‘Nope, try again.’”

Immerwahr agrees that this process of discovery is what makes rehearsing any comedy – but especially one with so many characters – so rewarding. “We’ll create a full person for each role, then identify the key elements that communicate that character instantly to the audience.”

That sense of transformation extends beyond acting choices and into production design. Costume designer Pete Rush likens his approach to Baskerville to working a puzzle.

“Normally you start with how each character should look,” RUSH says. “But with a quick-change show like this, where a few actors play dozens of roles, the first question is: how can this work?”

Rush’s designs are full of clever tricks—layered costumes that actors can peel away in seconds, onstage quick changes that happen in plain sight, and hidden nooks in the set for costume swaps. “The script is already hilarious,” he says. “The costumes don’t have to do the comedy for us—they just have to keep up.”

Don’t miss Mark Emerson’s tour-de-force turn in Baskerville: A Sherlock Holmes Mystery. Click below to buy tickets!

Originally published December 5, 2025

 

 

Ken Ludwig’s Baskerville: A Sherlock Holmes Mystery

ISSAQUAH JAN 20–FEB 22, 2026
EVERETT FEB 28–MAR 22, 2026

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