Rarely (perhaps never before) has a "straight" film been so miraculously transformed into an absolutely hilarious comedy. But that's what theatergoers will find upon arriving at The 39 Steps, based on the 1935 Alfred Hitchcock film.
By today's standards, Hitchcock's film a suspenseful thriller - seems tame and a bit creaky. However, all that is swept aside in the reconstructed play, which takes the black-and-white film and completely restyles it. This reviewer viewed the film just prior to seeing the play and can report that about 80 percent of the film's dialogue has been transported onstage. So how can the film, which has but a few mildly comic situations, become uproarious? The "secret" rests in the cast, comprising four talented actors who switch roles with the pass of a hat or a very slight change in costume.
The Spartan set is equally flexible, changing from foggy Scottish moors to a New York apartment to a train compartment, etc., basically without interruption.
Some of the quick set changes are incredibly complex, while others are reminiscent of what a child might dream up. For instance, take the scene in which all four characters are seated in a car. The "car" made of four straight-backed chairs, two in front and two behind. The "driver" has only a detached steering wheel to suggest that they are, indeed, in a car. Yet the coordinated physical movements of the four actors, all swaying in the same rhythm as the "car" veers in one direction or another, raises the illusion to the level of sheer genius. The sound and lighting play an equally important part in creating the illusion. To make things even more fun, the playwright tosses in references to Hitchcock's other film hits, including "North by Northwest," "Psycho," and so forth. While this might puzzle the many children who were attending a performance of this G-rated play, adults are audibly appreciative of the gimmick.
Overall, the play's madcap pace makes it difficult to appreciate individual scenes. The four incredibly hard-working actors are: Charles Edwards, who plays Richard Hannay, the man caught in the middle of a political intrigue; Jennifer Ferrin, the lone woman (played by an understudy at the performance seen by this reviewer); Cliff Saunders and Arnie Burton. The tight-knit play could not work without their near-perfect comic timing and, thankfully, they never disappoint. Charles Edwards is particularly brilliant as Hannay. His wonderfully chiseled looks, permanently arched eyebrow and dashing appearance seem ideally suited to this spirited romp.
