The 39 Steps

Nimble nuttiness oozes out of every pore in the Bruiser Theatre Company's archly satisfying production of John Buchan and Alfred Hitchcock's The 39 Steps.

Penned by Patrick Barlow as a more dramatic response to Nobby Dimon and Simon Corble's adaptation of Buchan's novel, the internationally successful play's generally Hitchcockian tone is wedded to aspects of Monty Python and even Quentin Tarantino in a delectable consumption fitting for the artist in everyone.

By mocking and revering its inspirations equally, as only the best critiques and love letters to any artistic medium do, director Lisa May's play strikes the perfect balance, never losing sight or track of the central themes, plot, sketches and performances that hold it all togethe­r.

The 39 Steps clownish inventiveness is unique in its budgetary implementations and topsy-turvy inclinations. With Stuart Marshall's 'less is more' set and consistent reminders that we are in the theatrical world and not the real one, this is a 'both sides' play in many ways. Many characters appear, but there are only four performers. A multitude of locations are needed, but props are minimal. The result is that aesthetics spring from actors and atmosphere rather than gloss, necessity bringing out creativity.

Like Monty Python's journey to the Holy Grail with coconuts, one knows it's nonsensical, but one also wouldn't have it any other way. The task of mainly adhering to the narrative of Hitchcock's 1935 film – the traditional tale of a man on the run for a crime he didn't commit – with only four actors seems tricky. But May and her cast are adept at it.

Liam Jeavons and Michael Condron enjoy themselves immensely in endless roles, clowning around as travellers, professors, policemen, entertainers, maids (yes), objects (again, yes!) and much more. English actress Hannah Brackstone-Brown glows with deviousness, frowns with fear and shines with purpose as the three love interests.

And, as central character Richard Hannay, Michael Johnston embraces the stiffness and entitlement of the upper-class Englishman in a fantastic performance.
In playing this walking cliché with a pencil moustache, a caricature of Wildean wit and pre-Bondian derring-do, Johnston brings to mind another Michael – Fassbender.

Recall how, in Inglourious Basterds, Fassbender's Lt. Archie Hicox tried, and failed, to pass himself off as German through cinematic knowledge; similarly Hannay, and Brackstone-Brown's Annabella, for that matter, look like they have prepared for their roles in universe by studying art and art alone.

Their exaggerated movements and accents (surely Annabella's vocal slip is intentional?) support this, and the clowns later get in on the act with Dick van Dyke cock-er-nee and Sean Connery Scottish. (Shurely no mishtake.) Never mind the anachronisms – from apparently broad comedy, sly commentary has emerged, and that's among the many delights of these 39 Steps.

With a sprinkling of props, the cast and production team skilfully create the effect of all kinds of locations and vehicles, from cars, bikes, trains and boats, to the Forth Bridge, to the London Palladium.

A rather overwhelming comedic flourish in a too sketchy first act is forgiveable – the more one thinks about it in hindsight, the more fitting it is for the overall tone of the play.
Even in the second act, with the story – such as it is – in full flow and Brackstone-Brown well settled as femme fatale Pamela, satire, laughs and visual commentary remain in place, with a bit of unexpected darkness to come.

And as chemistry between Pamela and Hannay burgeons, the latter may, surprisingly, come to earn a happy ending. He may well be the cad who got the cream... and lived to tell the tale. A tale that everyone in the packed Lyric Theatre enjoys.

Simon Fallaha

The 39 Steps runs in Belfast's Lyric Theatre until Saturday April 16 - lyrictheatre.co.uk