THE 39 STEPS
Bear Pit Theatre, Friday 11th May, 2018
Patrick Barlow’s affectionate spoof draws more from the Hitchcock film version than the John Buchan original novel – and indeed, his script is peppered with direct nods to Hitchcock’s filmography for those in the know. Director Nicky Cox’s ambitious production is an excellent fit for the Bear Pit’s intimate space; her set design maximises the performance area with a raised level, including judicious use of a screen for projections that both identify the location and bridge the scenes of on-stage action. Cox works her cast of just four hard; this is a show where the hand of the director is clearly visible, especially during inventive moments like a chase on the roof of a train, and an aeroplane conjured up from a propeller and a ladder. Also clearly in evidence is the wit of the writer: Barlow’s wordplay spoofs the stilted dialogue with the addition of extra-silliness.
But, of course, it is the actors who draw our admiration the most readily. Tony Homer is perfectly cast as the protagonist Richard Hannay, tall, slender, his old-fashioned matinee idol looks enhanced by his neat moustache. Homer proves adept at facial expressions, especially the world-weariness and the self-congratulatory wink, and he uses his pipe to great effect. I would say he could emphasise Hannay’s R.P. and his stuffy manner to make the most of the character’s ridiculousness, but that’s a quibble, and I don’t wish to detract from his wildly enjoyable portrayal.
Carol Roache reappears as Hannay’s love interests, from a German femme fatale (What is German for femme fatale?) to a crofter’s wife and Pamela, a terribly English young woman who finds herself handcuffed to our hero to great comic effect. Roache pitches each role perfectly: larger-than-life but never going over-the-top. That indulgence is permitted to the remaining two cast members, Natalie Danks-Smith and Roger Ganner, who play (tirelessly, it seems) everyone else. This versatile pair undergo the quickest of quick changes, their characterisations becoming broader and broader, in some breathtakingly silly moments. Danks-Smith is hilarious as a crofter and the landlady of a hotel; while Ganner excels as the evil professor and the twitchy hotel landlord, to name but four of their many roles.
There are a few first night glitches: a wayward moustache and a runaway pen – but the cast handle these mishaps with aplomb, and it all adds to the fun. A couple of times, the pace could be quicker – especially during a couple of scene changes – but I’m sure things will sharpen up as the show’s run gets into its stride.
All in all, this is comedy heaven, an excellent opportunity to exercise your laughing muscles for a couple of hours and, generally, the moments when we’re not laughing are times when we’re just marvelling at the brilliance of it all.
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