The 39 Steps

Hitchcock meets vaudevillian Pythonesque, Goonish farce, with a good dash of slapstick, in this stage version of The 39 Steps.

Patrick Barlow’s stage adaptation of the John Buchan espionage thriller (as filmed by Hitchcock) steps on the accelerator, and transforms the script of the 1935 movie (which it follows closely, adding nods to other Hitchcock movies) into a quirky comedy. So, what you get isn’t a thriller, but an affectionate send-up of the genre.

Though aware that the relentless comic demands and style of this four-hander could challenge a non-professional company, my doubts quickly faded as a strong cast effectively landed the majority of the comedy, set the audience laughing, and achieved a stylistic unity.

Only one actor, Max Philipson as protagonist Richard Hannay, has the ‘luxury’of playing a single role. He rarely leaves the stage as the play’s (mostly) straight man, in a disciplined, focused performance.

Lib Campbell ably differentiates the three female characters with whom Hannay becomes entangled. She’s Annabella, a mysterious femme fatale spy with an almost impenetrable European accent (deliberate), then a lively wench with an equally challenging Scottish accent and the feisty, well-spoken heroine.

Mark Langham and Stephen Holland, whose roles are both described as ‘clown’ in the program, switch splendidly between roles at frenetic speed to play the entire supporting cast of at least a hundred. They often click back and forth between multiple characters in the blink of an eye, with nothing more than a silly hat, wig or prop change as an external signal. But really, nothing gets much better than throwing actors on their resources, and with quick-change accents, physicalisation and timing, and these two performers regularly pull it off.

Even moments of dropping out of character, deliberately breaking the rules of farce, are cleverly woven into the script, and well executed in performance.

The Genesian Theatre stage is exposed to the attractive masonry of its rarely seen back wall. A selection of simple props and furniture remain in sight throughout, moved fluidly and visibly into place to simply suggest the play’s locations, often also providing nice sight gags in their own right. The brisk pace of these changes ensures the storytelling action rarely pauses more than momentarily.

Numerous sound cues are handled with precision, often getting in on the gag thanks to fine timing. Excellent voiceovers also add to the fun.

Farce, such a tough ask, is played with good timing and belief.

Already very funny on opening night, this production can only get even funnier as the actors respond to a range of audience reactions, fine-tune their timing, and nail even more moments.

Neil Litchfield

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