‘The 39 Steps’ @ Mainstage Irving-Las Colinas
Photos by Kris Ikejiri and Mike Morgan Photography
—Hannah Kneen
If you’ve ever found yourself tired of life or stuck in a slump, you might find yourself relating to the rather unremarkable Richard Hannay as he commands himself to “Find something to do, you bloody fool! Something mindless and trivial. Something utterly pointless. Something – I know! A visit to the theatre!”
A visit to the theatre to see Mainstage Irving-Las Colinas’ The 39 Steps, adapted by Patrick Barlow from the novel by John Buchan and the movie by Alfred Hitchcock, is certainly something to pull one’s spirits up. Set in the London of 1935, this exhilarating whodunnit combines a spy thriller and a Hitchcock chase film—wherein our reluctant hero Hannay (played by Tucker Souther), finds himself embroiled in a terrible plot when he meets a mysterious woman claiming to be a spy.
When The Woman (Caitlyn Martelle) dies suspiciously only hours after meeting him, Hannay must outrun and outsmart the spy ring known as “The 39 Steps.” On the run from the police as well (he’s been pegged for the murder of the mysterious woman), he encounters a colorful cast of over a hundred characters(!)–all played by the same three actors.
Moving through ever-shifting scenery, Tucker Souther’s Richard Hannay is constantly funny and wonderfully charming as he adapts to his unusual circumstances. Clown 1 and Clown 2 (played by David Willie and Derick Snow respectively) make up the majority of the strange people he meets along the way. Their impeccable comedic timing and contagious enthusiasm make the play a nonstop parade of laughter. They play off each other and the two lead actors brilliantly.
Caitlyn Martelle as The Woman gets her share of stage time as Richard’s various love interests and occasional allies. Martelle is just as skilled in changing hats as the two clowns, and her many “guises” make for an entertaining complement to Richard throughout the different episodes of his adventure.
The only criticism I have for the performances is that occasionally I couldn’t understand some of the lines (usually when a performer was going all in on a funny accent).
Extra kudos to everyone involved in the production for the many ways they found to make use of the technical elements of the show. Whether it be the constantly changing costumes (designed by Michael A. Robinson/Dallas Costume Shoppe) that allowed so few actors to create a veritable parade of personae, or the perfectly timed and tuned sound and light cues designed by Zach Cantrell and Hank Baldree respectively, each technical aspect of the show was used to induce maximum humor in the audience.
Even the jumble of moving parts that created so many different settings (no doubt influenced by both scenic designer Dane Tuttle and properties designer Meredith Butterfiels) was used to great effect, though I think they could have maybe done more to make the transitions between scenes sync up with the rest of the show’s comedy. There were a few moments when we got to see the techies become part of the show (and the fun)—and they worked so well I would have liked to see more.
Under the skillful direction of Harry R. Friedman, this show comes together in all ways. The performers work together seamlessly, the tech enhances the show, and the jokes always land. From perfectly choreographed shows-within-the-show, to priceless moments of fourth-wall breaking, to villainous scoundrels with missing fingers, to death scenes with built-in encores, this show had me smiling or laughing at something new every few minutes.
Friedman describes the play as “a little tidbit of escapism that allows the audience to leave their trouble outside and run away into a story for a couple of hours of laughter and joy.” I don’t know about you, but for me it was just what I needed.
WHEN: Jan 19 - Feb 3, 2024
WHERE: Dupree Theatre, Irving Arts Center
WEB: mainstageirving.com
