Review: THE 39 STEPS, Salisbury Playhouse

Adapted from Alfred Hitchcock’s thriller, Patrick Barlow’s The 39 Steps takes us on a chronicle of espionage as a begrudging bachelor embarks into a cat and mouse chase from London to the Scottish highlands as he uncovers the clandestine organisation of German spies.

Ryan McBride’s production has real momentum. His vision of a love letter to classic cinema is apparent with excellent nods to true film noir paired with parodic elements. With four actors playing 139 parts between them, the switch between characterisation is largely funny with moments of especial hilarity between Dani Bird (Clown 1) Phil Yarrow (Clown 2) as Mr and Mrs McGarrigle and the spies. There are dynamic uses of parody and physical comedy which lead to laugh-out-loud moments. A stand out is the chase across the top of the train as the actors simulated wind.

Mei Mei Macleod plays swooning maiden and femme fatale characters with consistent romantic comedy. Dani Bird’s Clown 1 pairs excellently with Phil Yarrow, although is  less dynamic than the other actors.

Charlotte Bloomsbury’s portrayal of Richard Hannay was immaculate, especially after only 24 hours to prepare to go on stage and not a moment of chemistry was missing between her and MacLeod. She remained a consistent hero that grounded the chaos of comedy around her.

Phil Yarrow (Clown 2) is the standout performer of the night. Every comedic choice is well judged and he plays with dynamics that really let the punchlines sing. Each character he plays feels completely rounded and he walks the line between caricature and clown well.

Libby Todd’s set design is impeccable, with beautiful metal framework and wooden panelling evoking that of a train station. The panelling allows for peekaboo moments throughout which augmented the physical comedy. Inclusion of the silhouette of the Scottish highlands within the woodwork not only allows the scenes to transition seamlessly but created an impression of a great journey.

The film noir inspiration is immediately apparent with excellent choices of music and lighting. Both of which are used in combination effectively to highlight and hide. Lighting and sound from Simisola Majekodunmi and Tom Marshall highlight the comedy impeccably. Transitions are seamless and only enhance the performances on stage.

The puppeteering to show a wide shot of the police chase across the bridge is inspired. However, the use of puppets in the election scene does nothing to enhance the characterisation of the men and feels like an ineffective Statler and Waldorf Muppet reference. Being over the top is not always negative; at points, it works brilliantly such as when sheep fell from the sky, but some instances feels ridiculous for the sake of it and felt pantomime-esque at points.

The hilarity of the play is hindered only by pushing moments that could be more subtle. There is something to be said about connecting with actors by feeling as though you are sharing their experience with them. Bloomsbury and Yarrow connected completely but I urge more faith to be given to the audience to allow for more dynamic and subtle elements of comedy to shine without having to be shrill. 

The 39 Steps is at Salisbury Playhouse until 8 March, then touring to Mercury Theatre Colchester from 11 – 29 March and Octagon Theatre Bolton from 6 April – 10 May

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