39 steps

I was aware of the original story of the 39 steps written in 1915 by John Buchan and the Alfred Hitchcock 1935 film but had not encountered this pastiche of the original written by Patrick Barlow. Following research, I found out the adaption was said to be true to the original story, a spy mystery but full of laugh out loud comedy.  The cast I was informed was ‘small with 4 actors, mainly male, playing over 150 characters with minimal set and costumes.’ So, I was interested how your company would deliver the play.

The open stage was set with two open entrances along the back wall one with a door in. Additional items were placed on the stage, a table with a decanter on, an armchair, a rectangular item leaning against items covered with dust sheets, 1930’s music playing and an art deco image projected on the back wall. I realised after reading the programme that your director had made the decision to use 3 female,1 male actor and 2 clowns as the play progressed other members of your team were used on the stage. The play rapidly moved from a London Music Hall via different types of transport and accommodation to Scotland’s remote highlands and back to the London Palladium.

The final result was enhanced by the innovative quantity and clever use of the furniture and props used during the play. The lighting, sound effects and musical themes used added to the overall atmosphere and the costumes were period and well fitting.

The actor portraying the lead Richard Hannay, a well-dressed bored English gentleman who ended up being the fall guy for a gang of ruthless criminals, produced a sterling performance. He spoke clearly with feeling and delivered his monologues masterfully. We followed his heroic and hilarious journey which he used his drama and melodrama skills to depict. He was rarely off stage and took on numerous identities on the way through his journey and connivingly interacted with the other members of the cast.

While at the theatre he met Annabella Schmidt an exotic secret agent who was in need of help. The actor playing this role certainly looked the part with her sleek wavy dark hair black, period dress and fur. She created a romantic tension between them, spoke in a German accent and convinced Hannay to let her stay at his apartment with dire consequences for him. Hannay’s awkward sliding escape from his armchair under her body and collapse on the floor certainly brought a reaction from the audience. This actor also spoke in a clear English accent when delivering radio broadcasts.

Pamela was the next female Hannay encountered whilst fleeing on the Flying Scotsman.  He was trying to get the police off his case he kissed her but she wasn’t going to be complicit and handed him into the police and he had to escape through a train door. We met her later when she again informed the authorities but she eventually succumbed to his charms and became a perfect foil to take on the villains. This player showed a variety of emotions from the determined to the caring.  

The final female role was Margaret a shy downtrodden crofter’s wife who was seeking adventure away from the depths of Scotland and her domineering husband. This part was played believably by your actor. She certainly took no time to succumb to the charms of the dapper gentleman and happily aided his task with an ingenious escape through a window.

What to say about the two fine actors that depicted the clowns? They were outstanding and their comic timing on point. They played so many different roles you ended up losing track of who was who. They often took on several different roles within one scene. One appeared at the side of the stage, centre stage and then arrived through the auditorium. They were spot on as they transformed from hero to villain, man to woman, elderly to young, to crofter, to milkman, to Mr Memory, to the Professor etc. Not only did they change characters but they changed accents and costumes maybe just a hat but sometimes a full outfit on stage. I would think they definitely needed their own dressing area and props table. Their use of the window frame prop was wonderful and the transformation to a plane with a propellor with the additional costume change to airmen was inspired. I also liked the yellow plane a Prop carried.

The final members of your team that need recognition are ‘The Props’. These three worked tirelessly throughout the production to ensure all the many pieces of scenery and props were in the correct place at the correct time including in these items were occasionally themselves, I did enjoy the car and the baby. There were over 30 scenes in the play with various amounts of scenery and prop changes between each and a blackout was used for each one and I feel this was a distraction for the members of the audience because added up together the stage was in darkness for quite a while. I do wonder if it would have been possible to make the changes part of the narrative. They cleverly managed items of all sizes from cigars to a bed and created an interesting Scottish band and flock of sheep, writing baa, baa on the bottom of shoes was a great idea. It was great to watch the expression on the Prop when her love scene record player efforts didn’t work and I did like the water pistol for the wet weather.

We watched on the Friday night and I feel we were in a typical Friday night audience.  They gave an occasional chuckle rather than laughed out loud. I was assured by people who attended on other nights that their experience was different with raucous laughter throughout. It was great to hear the positive comments in the bar during the interval.

Your director should be proud of this production it was imaginative and cleverly staged with many tongue in cheek moments. Many congratulations to all those involved in this play.

Disclaimer 

Any observation made by the reviewer can only be based on what he sees at the performance in question.  The reviewer may have received information in advance of the performance and it is inevitable that his assessment will be affected by that knowledge. 

The NODA Representative’s intention is to give an objective critique of the overall production and in particular, the performance.  It should be remembered that any review of this nature can only be objective as far as the techniques used during the performance observed.  Any criticisms expressed may not have been valid at other performances and are only made to encourage higher standards in Amateur Theatre. 

It is hoped that the audience’s appreciation of your efforts will have given everyone a lift and encouraged you to greater achievements in the future and that the observations made by the reviewer will prove helpful in improving future productions.

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