Review: A Hilarious Caper Under the Stars: 'THE 39 STEPS' in Wilcox Park

When you think of Alfred Hitchcock films, you probably don't think "comedy." But the Colonial Theatre's outdoor production of The 39 Steps combines the tension of a classic spy thriller with hefty dose of madcap farce to produce an evening of pure theatrical joy. 

The 39 Steps follows the story of Richard Hannay, a bored 1930s Canadian ex-pat in London who unwittingly becomes entangled in a web of espionage when a mysterious woman is murdered in his apartment. Fleeing across the Scottish Highlands to clear his name, Hannay encounters a series of eccentric characters and hair-raising situations, all while uncovering a plot featuring a classic "national security" MacGuffin. The play, adapted by Patrick Barlow from John Buchan’s novel and Hitchcock’s film, ingeniously condenses the sprawling narrative into a compact and comical whirlwind, requiring only four actors to portray dozens of roles.

Leading the cast as the hapless yet resourceful Richard Hannay, James Evans delivers a pitch-perfect performance, neatly balancing the character’s bravado and bewilderment. Evans’ comedic timing and physicality shine as he navigates through a series of increasingly absurd situations, from clambering along train cars to escaping handcuffed across foggy moors. (Watch for the scene on the Forth Bridge.)

Julia Moore takes on the roles of the women Hannay encounters, which, given the genre and timeframe, include such robust stock characters as the German femme fatale Annabella Schmidt, the feisty "modern woman" Pamela, and the infatuated farmer's wife, Margaret. Moore exhibits remarkable versatility, effortlessly switching accents and personas to create memorable, distinct characters; she is a delight to watch, and her chemistry with Evans is electric.

The real scene-stealers, however, are Dan Morrison (Clown 1) and Alex Olson (Clown 2), who take on every other role in the play, whether bumbling policemen, crotchety innkeepers, vaudevillian performers, or a pair of straight-out-of-Monty-Python underwear salesmen. Their comedic timing is impeccable, their physicality astounding, and their ability to switch between characters in the blink of an eye is nothing short of magical. There is one moment when, as "policemen," they realize they have no car, and assemble one from whatever props are available, while singing "Chitty Chitty Bang Bang." It is a moment of inspired daffiness.

Director Marion Markham expertly orchestrates the controlled chaos, ensuring the brisk pace and seamless transitions that are crucial to the play’s success. Her innovative use of the outdoor space, including imaginative staging (look for a train journey, done with two steamer trunks and really clever lighting effects), keeps the action dynamic and engaging. Markham's sensibility is just right. Fans of the original film will recognize just how much of the dialog and setting has been lifted, unchanged. What makes it comedy is the precise character of the exaggeration; there is a certain elevated melodramatic acting style required, and Markham has nailed it.

The minimalist set, designed by John Tedeschi, cleverly utilizes props and a handful of projections to evoke the locations Hannay visits. Simple yet effective, the set pieces transform the park into a train station, a moorland, and a Scottish mansion, all with a few deft changes. Tedeschi's design, combined with perfectly executed atmospheric lighting by Hailey O'Leary, creates a wonderfully adaptable space. A word must be said about Jaysen Engel's costumes. Given the spare sets and props, Engel's unique and compelling outfits serve to anchor us to character and place, and they work marvelously well. The sheer number and variety of costume changes — especially for the Clowns — is daunting, yet each is executed with a high degree of fit and finish. Elizabeth Compere's sound design brings not only crisp audio effects (and sometimes, a ringing phone played for laughs...) but also overdetermined music cues that heighten the sense of absurdity, all perfectly audible, no small feat in a fourteen-acre park.

The Colonial Theatre usually does "serious" works for their summer in the Park show, but their decision to take a chance on farce turns out to be inspired. A talented cast, deft direction, and solid technical  work make this an absolutely delightful experience. This is what summer theatre is all about. Recommended.

The 39 Steps, by Patrick Barlow, directed by Marion Markham. Colonial Theatre Shakespeare in the Park, Wed-Sun through Aug 10 (8pm, except Sunday 8/4 at 6pm). Tickets free, with reservations recommended (in case they need to notify for weather cancellations) at https://www.eventbrite.com/e/the-39-steps-colonial-theatre-shakespeare-in-the-park-tickets-865951994727 More info at: https://colonialtheaterart.org/

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