THE 39 STEPS at Richmond Theatre

★★★★★

“Always tongue-in-cheek, the show is thrillingly funny and villainously clever”

Sometimes a good – and fun – way of gauging a show’s reception is to listen in to people’s conversations at the interval. In the plush surroundings of Richmond Theatre’s bar, a recurring comment was along the lines of ‘it’s a bit like Operation Mincemeat’. So, first things first. It isn’t. The correct comparison is ‘Operation Mincemeat’ is a lot like ‘The 39 Steps’. The latter predates the former by a couple of decades at least. The most striking comparison, though, is the implausible ability to take a fairly serious subject and turn it into comedy without losing its essence; and to do so with a very small cast that cover a multitude of characters.

Patrick Barlow’s “The 39 Steps” has just four actors playing over 150 characters. Originally written by Simon Corble and Nobby Dimon it premiered in 1996. Barlow rewrote the script in 2005, staying faithful to the small-scale structure but taking it on its large-scale journey to the West End where it stayed for nine years. Inevitably it travelled across the pond where, on Broadway, it was originally given the title ‘Alfred Hitchcock’s The 39 Steps’. Barlow’s adaptation draws as much – if not more – on Hitchcock’s 1935 film as it does on John Buchan’s 1915 novel. His inspired comic treatment of the story has turned the play into a timeless classic.

Tom Byrne brilliantly plays the unwitting and hapless hero, Richard Hannay. With cut glass accent and even sharper precision in his depiction of a comedic matinee idol. Drawn into a mad, cat-and-mouse journey that takes him from London to the remote Scottish coastline and back again, he is pursued by both the police, and a band of dangerous spies who are conspiring to steal secret documents from the Foreign Office. Safeena Ladha is a delight as all three of Hannay’s love interests; the doomed Annabella (who kickstarts the whole adventure for Hannay before perishing in his arms); returning to the stage as Scottish farmer’s wife, Margaret; and also popping up throughout as Pamela, the archetypal ‘will-they-won’t-they’, ‘love-hate’ heroine. Every single other role is covered by Eugene McCoy and Maddie Rice, often playing many roles in the same scene. Their comic timing is flawless throughout and the character changes jaw-droppingly swift.

Maria Aitken’s staging is deceptively stripped back and simple. The whole show is like a conjuring trick. Sleight of hand scene changes and ingenious use of props and costume evoke mood, location; suspense and relief, all in quickfire succession. It is almost like a play within a play. Not only are we watching the story unfold, but we are also witnessing this crazy quartet of actors attempt to carry off the improbable feat (and quite rightly they bring on the formidable backstage crew at curtain call whose stress levels during the last couple of hours must have been tripping the fuse).

Always tongue-in-cheek, the show is thrillingly funny and villainously clever. References to all Hitchcock’s films are scattered throughout the dialogue, the titles name-dropped and represented visually and musically. Even Hitchcock himself has a cameo role, albeit in shadow puppet form. The detail is subtle yet obvious at the same time. You can be forgiven for missing some of the jokes due to the sheer pace of the production. A pace that appears chaotic and improvised but is, in fact, precisely disciplined and choreographed. Successfully crossing the line between suspense and comedy, and between realism and parody, is a master’s skill. These four actors have it. “The 39 Steps” is a ‘must see’, whether you’re a fan of thrillers or comedies. Or both. Or even neither.

THE 39 STEPS at Richmond Theatre as part of UK Tour

Reviewed on 4th April 2024

by Jonathan Evans

Photography by Mark Senior

Best shows in March 2024:

THE LONELY LONDONERS | ★★★★ | Jermyn Street Theatre | March 2024

FOR BLACK BOYS WHO HAVE
CONSIDERED SUICIDE WHEN THE HUE GETS TOO HEAVY | ★★★★ | Garrick Theatre | March 2024

BLUE | ★★★★ | Seven Dials Playhouse | March 2024

GUYS & DOLLS | ★★★★★ | Bridge Theatre | March 2024

POLICE COPS: THE MUSICAL | ★★★★ | Southwark Playhouse Elephant | March 2024

HIDE AND SEEK | ★★★★ | Park Theatre | March 2024

APRICOT | ★★★★ | Theatre503 | March 2024

IN CLAY | ★★★★★ | Upstairs at the Gatehouse | March 2024

HOSTAGE | ★★★★ | Etcetera Theatre | March 2024

ASSEMBLY HALL | ★★★★★ | Sadler’s Wells Theatre | March 2024

PRISCILLA THE PARTY! | ★★★★★ | HERE at Outernet | March 2024

MIND MANGLER | ★★★★ | Apollo Theatre | March 2024

BREEDING | ★★★★ | King’s Head Theatre (new) | March 2024

DON’T. MAKE. TEA. | ★★★★★ | Soho Theatre | March 2024

THE DREAM OF A RIDICULOUS MAN | ★★★★ | Marylebone Theatre | March 2024

THE DIVINE MRS S | ★★★★ | Hampstead Theatre | March 2024

AN OFFICER AND A GENTLEMAN

Click here to see our Recommended Shows page

★★★

“It is a joy ride, although it does sometimes feel like you’re riding on a bus full of teenagers”

So where exactly did the stereotype originate? The Blonde Stereotype that is. Negative (‘dumb blonde’) or otherwise (‘blonde bombshell’), the perception of blonde-haired women has ignored the lack of evidence that suggests that blondes are less intelligent than other people. The first recorded ‘dumb blonde’ appeared in a French play in 1775; “Les Curiosités de la Foire’. She was dumb in the literal sense in that she didn’t talk much. Since then, blondes have had more fun, gentlemen have preferred them, and Hitchcock has fetishized them.

In 2001, writer Amanda Brown wrote about her experience as a blonde at Stanford Law School in various letters to friends which later became a novel and the box office success that was “Legally Blonde”. The musical, with music and lyrics by Laurence O’Keefe and Nell Benjamin and book by Heather Hach, opened on Broadway in 2007 to mixed reviews. It’s West End run, starring Sheridan Smith, won three Olivier Awards, including Best Actress in a Musical for Smith.

The temptation is strong to focus on the possible relevance the story might have in today’s society. It is a cliché to state that times have certainly changed since the narrative themes burst forth into our consciousness. But it is safe to say that Lucy Moss’ staging is as self-aware as it can possibly be. Moss, riding on the global success “Six”, brilliantly uses the opportunity to satirise pretty much every stereotype possible. Nobody is safe. But what is extraordinary under her direction is the sheer sense of fun she brings to the production.

“Six” alumni Courtney Bowman commands the stage as the central character, Elle. Heartbroken after being dumped by her boyfriend Warner (Alistair Toovey) for not being serious enough, she decides she can win him back by showing she can achieve the same ambitions in the legal profession as him. In a plot line that loses touch with any form of credibility, she is accepted into the law school, rises high against odds and prejudices and eventually surpasses Warner. Along the way, everybody is put in their place, including misogynist law professors, jealous perjurers, closet gays. In fact, the characters who come out on top are the underdogs. The seemingly vacuous who ultimately reveal more depth than those who mock them.

Despite being hindered by a predominantly unmemorable score, the show still wins us over with its anergy and infectious comedy. And a couple of musical delights. The wit of O’Keefe and Benjamin’s lyrics shine through in particular during “Serious”, “Blood in the Water” and “Gay or European” which is surely the highlight of the night. It is miraculous how the words are sung so clearly with tongues so firmly set in the cheek. Homophobia, jingoism, and a whole host of other ‘isms’ are shot to the ground in a joyous few minutes of musical theatre snap, crackle and pop. Act Two opener, “Whipped Into Shape” showcases Ellen Kane’s slick choreography, pushing the all singing, all dancing ensemble to the limit.

“Legally Blonde” retains its comedy and loses none of its subversiveness in this brash and thoroughly camp production at Regents Open Air Theatre. It is a joy ride, although it does sometimes feel like you’re riding on a bus full of teenagers. Whilst there is little room for subtlety against the backbeat and spectacle, the current MT trend to introduce a Disney, cartoon-like, nasal shrillness to the delivery does grate over a couple of hours. But it’s worth it to reach the happy ending, buoyed up by the feel-good sensations that bounce the evening along.

Reviewed by Jonathan Evans

Photography by Pamela Raith

THE 39 STEPS at Richmond Theatre

★★★★★

“Always tongue-in-cheek, the show is thrillingly funny and villainously clever”

THE 39 STEPS at Richmond Theatre as part of UK Tour

Reviewed on 4th April 2024

by Jonathan Evans

Photography by Mark Senior

Best shows in March 2024:

AN OFFICER AND A GENTLEMAN

AN OFFICER AND A GENTLEMAN

Regent’s Park Open Air Theatre

Reviewed – 24th May 2022

★★★

“It is a joy ride, although it does sometimes feel like you’re riding on a bus full of teenagers”

Reviewed by Jonathan Evans

Photography by Pamela Raith

Legally Blonde

Regent’s Park Open Air Theatre until 2nd July

Last show reviewed at this venue: