The 39 Steps – Review – York Grand Opera House
By Roger Crow, July 2024
John Buchan’s hero Richard Hannay has been entertaining generations of film and TV viewers for decades. I always had a soft spot for Kenneth More’s 1959 version, which I saw on TV circa 1978, around the same time Robert Powell’s Hannay was hanging from the hands of Big Ben in a big-screen take. A decade later, Powell reprised the role in a 13-part TV version simply called Hannay, and there was a 2008 offering with Rupert Penry-Jones.
Sadly no mentions of those offerings in this fast-moving comic version which left the masses giggling at York’s Grand Opera House.
Alfred Hitchcock’s 1935 original with Robert Donat is the only point of reference it seems, with likeable nods to his other movies such as Vertigo, Psycho (visually and musically) and The Man Who Knew Too Much. There’s even a cameo of sorts from the great man.
Enacted by four thesps playing 139 characters, it opens with posh 30-something bachelor Richard Hannay (Tom Byrne) a little bored at home. So he decides to go to the theatre to see Mr Memory, a guy who can recall all sorts of amazing facts. However, before long, Hannay is mixed up in a murder and on the run from the authorities as a prime suspect. (One gag involving a knife was refreshingly original). Our moustachioed hero has near encounters on a train with the authorities, and the newspaper description of the wanted man, “dashing, 37, with a moustache” does not help his cause, though at no point does he think to shave off his face fuzz, that defining feature.
“Rousing speeches”
He winds up at a Scottish farmhouse, which, as any film fan will tell you, was originally a scene involving a young John “we’re doomed” Laurie from Dad’s Army in Hitch’s version.
We’re sat in the stalls to the left of the stage and there are a few issues. One actor doesn’t project enough to the audience, so some strain to hear the dialogue, and the set involving a doorway is too left of centre so we lose some of the action. The sets, by the way, are a hugely impressive backstage brick affair, and a mocked-up theatre proscenium. Full marks on that front.
Hannay winds up at a political rally and attempts to win over the crowd, addressing the audience, and, as is the way with all rousing speeches, comic or otherwise, it generates some genuine claps from our audience. That fourth wall break is a fine line, even in a comedy, but it works well.
The first half is arguably better than the second. A scene involving stockings after the interval goes on too long, though it’s always important to have a breather at times. Again, key props would work better at the centre of the stage and further forward.
“Gob-smacking lines”
Eventually things are wrapped up, the mystery of The 39 Steps is revealed, and there’s a hugely satisfying pay-off.
Kudos to the quartet of gifted thesps for pulling off the multiple characters, handling assorted props, dialects, stunts, gags and some gob-smacking lines. Take a bow Mr Memory for one mind-blowing section of dialogue.
There are hints of The Play That Goes Wrong, which I prefer, but my theatrical companion doesn’t. So each to their own. As a fun night out, The 39 Steps ticks a lot of boxes, and many of the audience were laughing at gags long after the pay-offs had been delivered, which was nice.
At a brisk 100-plus minutes, it doesn’t outstay its welcome, and there’s nothing too risqué for viewers who are easily shocked. It opens with a strobing effect, so that might be a trigger for some. With a more comfortable chair, it would have been an even better experience, so safe to say Patrick Barlow’s adaptation of John Buchan’s 1915 story had me on the edge of my seat in more ways than one.
‘The 39 Steps’ is at York Grand Opera House until 27th July
images: Mark Senior
