Planes, a train and an automobile plus a dashing hero with a pencil-thin moustache, this fast-paced version of The 39 Steps is some way removed from the rather staid and serious 1915 novel by John Buchan and Hitchcock’s subsequent and classic 1935 thriller.
Patrick Barlow’s adaptation opened in 2005 at the West Yorkshire Playhouse, transferred to London and became the fifth longest running play in West End history between 2006 and 2015, gathering Olivier and Tony awards and embarking on numerous global tours. This latest production is approaching the end of a UK tour.
Doubling is the name of the game here, with a cast of four playing multiple roles—139 in total according to the marketing. However, don’t expect a serious spy thriller; while the adaptation follows the general path of the source material, particularly the film, this is a parody, with an additional theme of sending up theatre. So, dramatic irony, mistimed cues, slapstick and a little breaking of the fourth wall all feature along with a smattering of Hitchcock-related puns.
Our hero, dashing bachelor Richard Hannay (Tom Byrne, the only non-doubling actor), reflects on his life one evening, alone in his penthouse apartment bar with a whisky and soda, and to relieve his boredom and lack of purpose, heads off to the West End for a night at the theatre.
His attention is drawn to the beautiful spy Annabella Schmidt (Safeena Ladha) in the box opposite. To Hannay’s surprise, she engages in a gunfight, and asks if she could return to Hannay’s flat to escape her pursuers. Honourable gentleman that he is, Hannay sleeps on an armchair while Annabella retires to his bedroom, only for her to end up murdered and Hannay implicated. His journey as a fugitive on the run from the police and Annabella’s killers now begins as he makes his way to Alt-na-Shellach in Scotland on a quest to find the mysterious 39 Steps, as instructed by Annabella in her dying breaths.
Byrne is excellent as the hapless-turned-heroic Hannay, reminiscent of Hugh Laurie as Bertie Wooster at times. Safeena Ladha plays all of Hannay’s three love interests and their varying accents, levels of attraction and chemistry work well.
Maddie Rice and Eugene McCoy fulfil all remaining roles, with mind-blowingly quick costume and prop changes, plus impressive deployment of drag, mime and puppetry. The customary cameo by Hitchcock himself is also worth a mention.
Ian Scott’s lighting design is masterful and crucial to quickly depict so many different scenes and settings. The train and station sequences are brilliantly done, and have a real 1930s cinematic feel.
Barlow wanted “speed, speed, speed” with this play, and tour director Nicola Samer certainly delivers, although I found a couple of scenes seemed to lag, more to do with the dialogue which on occasion is repetitive. A minor point though.
This is a fun and entertaining show; there are few subtleties, as it is the story and comedy which drive it all forward. That said, a rousing speech appealing to a better world in troubled times has a resonance, and what’s not to like about rooting for a gallant gentleman with a strong moral compass?