The 39 Steps – Theatre Royal Newcastle

Writer: Patrick Barlow, based on the book by John Buchan

Directors: Maria Aitken and Nicola Samer

In the programme for The 39 Steps, producer Ed Snape proclaims that although the original book was published in 1915, and the Alfred Hitchcock movie adaptation (which this play cleaves most closely to) was made in the 1930s, the story still very much resonates today. Frankly, this is difficult to see as the “wrong man” plot involving spies, secret plans, double-crosses and murder plays out. The source material was of course perfect fodder for Hitchcock back in 1935, but these days it all seems a little old hat. However, this production of the oft-adapted book has a twist to keep it more appealing to modern audiences: a broadly comedic adaptation with a cast of only four playing up to 150 different roles.

Recently returned to London from Canada, Richard Hannay (Tom Byrne) is bored. This ennui does not last long though, as a trip to the theatre leads to an encounter with a mysterious woman Annabella (Safeena Ladha) who imparts some vague information regarding the theft of military intelligence by a foreign power, and is then promptly murdered. Hannay is now on the run from the police, as well as unknown parties who seem to want him silenced, and he must make his way to the Scottish Highlands to find a mysterious figure that may be able to provide some answers and help him clear his name.

This sort of parody of 1920s/30s British melodramatic nonsense (all jolly hockey sticks and stiff upper lips) is nothing new, with the likes of musicals The Boyfriend and Salad Days, and Denise Deegan’s play Daisy Pulls It Off all treading similar ground. Thankfully The 39 Steps does not rely on this for the main source of its comedy. Instead most of the laughs come from the extremely creative ways in which a sprawling story can be presented by only four people with minimal props and scenery. Mime, lighting, sound effects, minor costume changes, creative use of props, and many other classic theatrical tricks are used to both convey the story and amuse the audience due either to their ingenuity or deliberate silliness (one of the best examples is Eugene McCoy donning a slicker and sou’wester to play a bog that the heroes must travel through).

While The 39 Steps is generally an amusing diversion, it does feel like it doesn’t quite go far enough. Comedy is its main focus but there are several quite long joke-free exposition sequences and duologues, and these feel interminable in the context of the overall tone. Light laughs occasionally ripple through the audience, but there are very few if any knee-slapping moments. The acting is deliberately mannered to recreate the performances seen in media of the time, and there is fourth-wall breaking and moments of scripted stage ineptitude that almost guarantee laughs. Meanwhile, most of the jokes in the dialogue are Christmas-cracker corny, and even delivered with a wink or a grimace, often do not generate much of a reaction from the audience.

It is the cast that really carries this piece, and they really do earn their wages in this show. Byrne’s Hannay is hardly ever off stage and gives a relatively serious (but still somewhat silly) centre for the rest of the madness to orbit. Ladha not only plays the mysterious Annabella, but also the other two significant women involved in Hannay’s adventures. Her voice doesn’t carry quite as well as the rest of the cast’s but she still has a charming presence in what amounts to three pretty thankless roles. And playing everyone else are Eugene McCoy and Maddie Rice – both giving amazingly energetic and versatile performances with multiple characters (often appearing at the same time) that are shared between the two with no regard for age, gender or build: McCoy as an OTT Scottish landlady and Rice as her monosyllabic husband are a highlight.

Even at 18 years old, this version of The 39 Steps is feeling a little dated. It’s easy to excuse the reliance on bad jokes and things like outrageous Scottish stereotypes as an attempt to recreate the period in which it is set. However, while this remains a fun romp while it lasts, it will have almost completely left your brain by the time you take your 40th step away from the theatre.

Runs until 13th April 2024