The 39 Steps

The lead character sitting in an old fashioned armchair with a huge open newspaper with “Turn Your Bloody Phones Off” in massive writing on the back for us to read as people enter and take their seats tells you most of what you need to know and what to expect from this madcap comedy caper. It tells us this is a company not afraid to be bold, and who take their comedy punches as seriously as their dramas. Perhaps most people will know The 39 Steps as a crazy comedy by now, rather than the classic Hitchcock thriller of 1935. It’s a hugely ambitious show for any company, with only four actors playing all the parts, and all the crazy scene changes. It’s a show that needs choreography and placement of actors very specifically in order for the comedy to shine through naturally. It’s daunting for any director, and here talented actor yet first time director Jack Jackson-Humphrey takes this on with confidence, doing a remarkable job in the process: an amazing achievement. 

The Director and cast have worked together to extrude every possible comedy moment from the show, which is super attention to detail and pays off hugely. The four cast members worked really well together in all their various scenes, being well rehearsed and spatially aware. The inertia movement of them lurching when the train stopped was a joy to see: so synchronised and natural, without them even looking at each other. The aeroplanes following Hannay North By Northwest, which was a lovely touch, moving around him as he ran on the spot while they were on chairs with castors was utterly brilliant – as were the aeroplanes themselves: little miniature ones with the actors wearing leather helmets and pilots’ goggles. Genius. 

There are so many lovely moments of detailed work in this production. The train chase ‘outside the carriage’ and then ‘on top’ was absolutely delightful, the way they added flapping to their coats to indicate the wind of being outside a moving train, and the stylised movement. The way this helps the audience use their imaginations to see what’s happening is superb: we see the train that isn’t actually there. The moving lights also helped the moving train effect. The ‘baddie’ coming on using a chair with castors (instead of the usual wheelchair) stroking a toy cat as if he was Blofeld was lovely touch making it all the more hilarious with both those choices. The street lamp prop was super, as were the suspicious characters lurking underneath: the breaking character here didn’t quite land, it would have been even funnier if they had all stayed in character. 

The standout comedy moment of the night was something so simple yet so beautifully done it could easily be overlooked. Mr McQuarry bent in half doing the slowest walk known to humankind to the podium and off again while all the characters looked on in disbelief was comedy gold: the confidence to hold this moment and not rush it was fantastic. Another stroke of genius is how the lectern turned into a car with such obvious simplicity it’s a wonder it’s not used by more companies. The roaring fire given life by a foot stamp was impressive, and the telephone call with the high pitched vice on the other end was another little moment of hilarity. The argument in the hotel foyer between four characters yet two actors was done with such cleverness and precision yet seeming ease: changing as they talked and transformed from one character to the other with clarity, simply using coats: another genius moment. In the same segments, the slow “aye” responses were comedy joy: when to make it fast paced, when to have pauses. The cleaning lady changing the set as part of the scene was a joy to see and so very well done: such a clever transition. The moving door segment was done so seamlessly and beautifully it was a joy to watch, and the door opening to a party popper and music every time was gorgeous. 

All four actors were wonderful in their roles and give character driven performances which helps the comedy land more convincingly. Craig Bunce makes a very flexible Richard Hannay, which was needed for getting out from under the planked dead woman across him in the beginning: but his extra physicality made it even funnier, especially his movements when he tried to sleep in the chair. His Richard Hannay was rather more lascivious than usual, he seemed quite a womaniser rather than stiff upper lip where liaisons took him by surprise. It was an interesting choice but did make him slightly less sympathetic than usual. Ashleigh Harris played all the various women Hannay has a dalliance with, and does an impressive plank across Hannay in the armchair, holding the position for a very long time. The differences in the female characters were quite subtle, as were the physical differences, which could have been more defined; but this does not detract from her being a joy to watch on stage where she has great presence. Jeremy Hendy and Alison Finch as Clown One and Two respectively are amazing with all the huge numbers of different characters they play, with almost instant changes in places. Newcomer Jeremy Hendy is a very welcome addition to the team here with talent in spades, expert comedy timing and an experienced ease on stage: absolutely superb in all his roles. Alison Finch previously seen in serious dramatic roles proved she can do comedy as well, and hold comedy moments for the perfect length of time. All four worked together so very well it’s a joy to see.  

This is a wonderful production full of so much care and detail, the Director Jack Jackson-Humphrey's name all over the lovely stylised programme in many other roles as well, including running the tech and designing the sound, a co-designing lighting, plus creating the programme. That this has been a labour of love where everyone in the team has poured their heart and soul in is clear to see, and it’s paid off. Congratulations to everyone on a really wonderful production. 

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