The 39 Steps

The 39 Steps is a parody play adapted from the 1935 film by Alfred Hitchcock, which itself was adapted from the 1915 novel by John Buchan. The original concept and production of a four-actor version of the story was written by Simon Corbie and Nobby Dimon and premiered in 1996. Patrick Barlow wrote this adaptation in 2005. It is most definitely a far cry from the original film and from seeing it, the original concept of it being performed by a cast of only four, just beggars belief. Here, there was a cast of eighteen who so successfully managed to play all of the many different and diverse characters as well as other Ensemble roles.

While at a Music Hall Richard Hannay meets Annabella Schmidt who says she is a spy. Following a disturbance she flees with him to his apartment. She tells him that she is being followed                and when later she is found stabbed to death Hannay realises that he must flee the scene. Disguised as a milkman and taking a coded notebook he finds himself on the run from the police and from the mysterious ’39 Steps’ organisation which is led by a man missing part of his little finger. He travels across the country ending up in Scotland where he encounters various obstacles and a skeptical woman who becomes entangled in his flight.

The simple set was comprised of two sets of flats either side of the performance area one with a window and the other having a door. In front of both, were two theatre-type seats. The window was used to great effect none more so than when a blind on it didn’t work and the curtains were drawn and I literally gasped when two very creepy faces were seen looking in and the door, at one point, was repeatedly opened and then shut  and we ‘heard and didn’t hear’ party music coming from the next room. A large red leather plush armchair on a simple truck was centre stage with a small trolley having a decanter, a glass and a telephone on it. The chair was moved back and forth and used for many scenarios. Later when staying at the Hotel a single bed was brought on and a desk-like structure was also used to depict the reception area. The Back wall was used to project the various locations of the action and it certainly did help in identifying where you were as you most definitely had to have a very good imagination. I particularly liked the depiction of the train which consisted of barricade type boards, brought on by the cast, with LNER written on them and boxes were also brought on for the ‘passengers’ to sit on, of course, their jerky movements did help with the whole concept of them being on a moving train. Another quite dramatic scene involving the ‘train’ was when Hannay was escaping capture by so convincingly moving along the outside of it and with the help of a projection of the Forth Bridge we realised he eventually, somehow, managed to clamber on to the Bridge. Entrances and exits were behind the two ‘flats’ or in front of them. 

The huge role of Hannay most definitely is the pivotal, significant and of central importance to the whole play so the need to have someone who can carry this ‘burden’ is paramount. Well, we certainly had that, as the part was so outstandingly portrayed by Mik Horvath. He was very charming, debonaire, stylish and suave with a definite air of resourcefulness when the role demanded it, but his comedic and physical actions, along with his inimatable facial expressions were just brilliant. It was truly an exceptional characterisation. Abbie Evans, with a great German accent, was perfect as Annabella, a secret spy, equally so was her portrayal as a Salesman and a Heavy. Jo Petch was superb as Pamela a classy lady who is at first quite distrustful of Hannay’s story concerning the murder and that of spies. There was an absolutely hilarious bedroom scene between herself and Hannay, who are handcuffed to each other, but before the need for sleep, Jo so adeptly removes her wet stockings with amazing looks coming from Mik and the physical antics when they do eventually try to sleep on the single bed were just incredible. There was one other uproarious and quite energetic scene when they were trying to escape and had to manoeuvre under two held very low sticks representing a stile. As the Crofter with a super Scottish accent, Nick Mothershaw was extremely bossy, doubtful and jealous of his wife Margaret and as the Professor he certainly proved to be a very cunning and mysterious character. The fight that ensued with Hannay was just  so funny especially when from behind a seat a ‘blown-up body’ was thrown and the Professor arose and sidled off, priceless. He was also so outrageously amusing in the portrayal of two other roles, that of Mrs Higgins and in particular, Mrs. McGarricle. Kat Foxx-Booth perfectly played the somewhat shy role of Margaret helping him escape through the rear window of the house which turned out to be a picture frame! She was also a Pilot and a very demonstrative and exuberant Magician’s Assistant. Mr Memory was superbly played by Megan Russell. Her twitching movements when asked to recall a ‘memory’ were amazing. Absolutely splendid and so impressive in their respective roles were Linda Ball as Spy and Chief Inspector Albright, Diane Churchill as Paperboy and Heavy, Jeremy Crane as Spy, Porter and Magician, Martin Drake as Sheriff, Ria Harvey as Radio Announcer and Mr McGarrigle, Alyson Koe as Policeman, Sophie Mander as Compere, Salesman McQuarrie, Gwen Murray as Dunwoody, Jane Robertson as Mrs Jordan, Roger Whiting as Milkman and Chief Inspector, Kirsty Williams as Policeman and Oliver Hallam, Ensemble. They also were involved in playing dancers (I loved the dance routine by three of the ladies) Passengers, The Assembly and other parts. 

The production was so brilliantly conceived and I have just mentioned only a few of the very many hilarious scenarios. The impressive set, the superb lighting, sound and projections, the fabulous costumes and splendid props all resulted in making this a most entertaining and wonderful production. Congratulations must go to Director Louisa Jenkins, to Production Co-ordinators Nikky Rowe and Sara Noble-Nesbitt, to all of the Technical Crew and Back Stage Crew and indeed to everyone else involved but most especially to the very enthusiastic and talented cast. My thanks also for the very warm welcome I always receive from the Front of House team. 

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