WHAT: The 39 Steps
WHERE: New Hampshire Theatre Project
BLURB: Light fun and entertaining
HIGH POINT: Attention to setting by all involved
The 39 Steps is one of those plays that demonstrates timelessness, and in the case of this production, talent.
The script is based on a 1935 eponymous thriller film, written by Charles Bennett and Ian Hay, with Alfred Hitchcock and directed by Hitchcock and deemed a classic. It was based on a 1915 novel by John Buchan.
The 2005 stage version is a parody of its two earlier incarnations. It follows the original thriller's circumstances, but plays it for laughs - big ones.
39 Steps maintains the era's social norms and prototypical personas, men and women in distinct roles. It maintains many tropes from the era's genre films, in the most delightful way.
Richard Hannay, a Canadian in London, is an ordinary guy, albeit bored, who heads out for a night on the town looking for some excitement. At the theater, while watching a demonstration of the incredible ability of Mr. Memory - who clearly has total recall - he meets a woman who convinces him assassins are after her. He takes her home for her safety, at her request.
She explains she is trying to stop a foreign country’s efforts to smuggle out important English documents. Before the sun is up, she's dead, he's wanted for murder and drawn into the world of spies.
Four actors perform all the film's characters, and those performances are a theatrical feast.
Shawn Crapo as Richard Hannay is the sole actor in a single role.
His Hannay remains believable throughout, regardless of how ridiculous the scenario - ever the man of his era, maintaining the stiff upper lip. It's a spot-on performance.
Courtney St. Gelais is both the thorn in his side and love interest (ah that ageless trope).
St. Gelais pulls off the perfect period sweet and feisty "gal," with a touch of Loretta Young and a dash of Barbara Stanwick, while remaining authentic and relevant. It's a smart bit of performing. She also plays a number of other female roles, and does so perfectly.
Then there are the two "Clowns," Michael Towle and Jenry Towle, who play every other character in the piece.
Both, with their turn-on-a-dime performances, make the jump from role to role appear effortless. Watching them is like viewing a character-actor's gleeful hoedown; turn to the left you're a bobbie, to the right, you're a farmer. Central to everything they do is is utter hilarity.
These nimble actors infuse each role with lots of laughs as well as distinction, whether evil doers, clueless Scotsmen, the rather scary farmer and innocent wife and others. These are two stellar performances.
Director Blair Hundertmark, who brought this great team together, directs with a competent hand. The multiple scenes change with ease, and all importantly move right along.
All the artistic components are perfectly appointed and add to the show's mood in the best of ways (list below).
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