The 39 Steps: Spy Thrills, Quick Changes and a Dash of Umbilical Mayhem
If Alfred Hitchcock’s 1935 thriller collided with a vaudeville sketch, the result would look much like The 39 Steps, which opened last night at Melbourne’s Comedy Theatre. Directed by Damien Ryan, this Australian production of Patrick Barlow’s celebrated adaptation balances homage and parody with infectious energy, carried by a committed and skilful cast.
At the centre is Ian Stenlake as Richard Hannay, the accidental hero whose London flat encounter propels him into a world of espionage. Stenlake captures Hannay’s mix of bewilderment and charm with ease, anchoring the play’s more outlandish diversions. Opposite him, Lisa McCune demonstrates remarkable versatility in her array of female roles, from mysterious femme fatale to beleaguered companion, lending the production a measure of emotional weight amid the hijinks.
Much of the evening’s comic momentum, however, rests with David Collins and Shane Dundas (The Umbilical Brothers). Famous for their anarchic blend of mime, sound effects and physical dexterity in the 1990s, the duo bring that same elastic energy to The 39 Steps. Their lightning-fast transformations between dozens of characters — policemen, villains, innkeepers and more — are reminiscent of their early, boundary-pushing comedy, but cleverly tailored to the play’s madcap theatricality. Watching them slip in and out of roles with practiced chaos is both a nostalgic thrill for longtime fans and a masterclass in stagecraft for new audiences.
Visually, the production embraces a stripped-back, stylishly monochrome aesthetic. A few trunks, ladders and lighting shifts conjure music halls, Scottish moors, and express trains, always with a wink to the audience. It is not suspense that drives this show, but rather the pleasure of watching actors push themselves through a whirl of costume changes, pratfalls and choreographed chaos.
Is this high drama? Hardly. But The 39 Steps succeeds with charm and skill. McCune and Stenlake provide a steady anchor, while Collins and Dundas ensure the pace never slackens. For audiences seeking Hitchcockian suspense, look elsewhere; for those after an inventive, well-executed night of laughter and theatrical playfulness, this is an easy recommendation.
