#1
Posted: 1/12/08 at 6:41pm
I had the opportunity to see the London production of Alfred Hitchcock's THE 39 STEPS over the summer, but turned it down to see BOEING-BOEING, which should be arriving stateside in March. Playing on the classic stereotype, leave it to the Brits to figure out comedy better than Americans. BOEING-BOEING was the most fun I've had at the theater in recent memory. Wait. Scratch that. THE 39 STEPS was the most fun I've had at the theater in recent memory.
Based on Alfred Hitchcock's 1935 espionage drama, which, in turn, was based on John Buchan's novel The Thirty-nine Steps, Patrick Barlow's stage adaptation tells the story of Richard Hannay (London carry-over Charles Edwards) and his journey to find the mysterious 39 steps, which he was warned about when a woman (Jennifer Ferrin, as sexpot women) died on his lap. Comic mayhem ensues as he escapes from a train, and meets, among others, a daffy farmer (Cliff Saunders, as half the men) and his wife, and the mysterious and murderous Professor Jordan (Arnie Burton, as the other half of the men, and the non-sexpot women). Did I mention that mayhem ensues?
Barlow's fantastic adaptation is very faithful to the film (though I don't recall it being so funny!) and manages to capture the spirit of Hitchcock, by incorporating various bits and catchphrases from his more-classic movies. My particular favorite line (which not many people got): something to the effect of "...I will not talk to you...we're strangers on a train!" Most importantly, it doesn't rely on worn-out clunkers and bizarre anachronisms like David Ives' translation of IS HE DEAD?.
Maria Aitken's barebones production is drop-dead perfect and features some of the most deft, hilarious, and visually-stunning stage pictures this season. The first act denouement, a North by Northwest-esque plane chase, is perhaps one of the most bizarrely funny things I've seen in a long time.
The remarkably hard-working 4 member cast is quite good, and once again proves why the Tony committee needs to institute a "Best Ensemble" award. There's no point in singling any one of them out. Collectively, they're some of the most brilliant farceurs I've ever seen...but if I had to name one, I'd say there's no beating Charles Edwards, who, in the Python-Spamalot-esque nature of the show, is the King Arthur - the one who remains 100% serious as the goings-on grow more and more bizarre.
ETA: Edwards gets massive laughs and a tremendous round of applause for uttering one word in the midst of the second act. I won't reveal the circumstances, or the word, but I will say that I'd vote for him before I vote for Hillary, Obama, or Mamet's guy (despite brilliance by Nathan Lane).
Sets are geniously spare by Peter McKintosh and allow for a multitude of moveable props. His costumes are quite fine, as well. Kevin Adams' lighting is perfect.
Noticed a bunch of critics in the crowd today - among them, the eternally frowning John Lahr cracked a smile! I'd be interested in hearing what Ben Brantley things - since he wrote it up during his London trip last year.
THE 39 STEPS is pure, unadulterated, good, clean fun. And it's original. Can't beat that.
Based on Alfred Hitchcock's 1935 espionage drama, which, in turn, was based on John Buchan's novel The Thirty-nine Steps, Patrick Barlow's stage adaptation tells the story of Richard Hannay (London carry-over Charles Edwards) and his journey to find the mysterious 39 steps, which he was warned about when a woman (Jennifer Ferrin, as sexpot women) died on his lap. Comic mayhem ensues as he escapes from a train, and meets, among others, a daffy farmer (Cliff Saunders, as half the men) and his wife, and the mysterious and murderous Professor Jordan (Arnie Burton, as the other half of the men, and the non-sexpot women). Did I mention that mayhem ensues?
Barlow's fantastic adaptation is very faithful to the film (though I don't recall it being so funny!) and manages to capture the spirit of Hitchcock, by incorporating various bits and catchphrases from his more-classic movies. My particular favorite line (which not many people got): something to the effect of "...I will not talk to you...we're strangers on a train!" Most importantly, it doesn't rely on worn-out clunkers and bizarre anachronisms like David Ives' translation of IS HE DEAD?.
Maria Aitken's barebones production is drop-dead perfect and features some of the most deft, hilarious, and visually-stunning stage pictures this season. The first act denouement, a North by Northwest-esque plane chase, is perhaps one of the most bizarrely funny things I've seen in a long time.
The remarkably hard-working 4 member cast is quite good, and once again proves why the Tony committee needs to institute a "Best Ensemble" award. There's no point in singling any one of them out. Collectively, they're some of the most brilliant farceurs I've ever seen...but if I had to name one, I'd say there's no beating Charles Edwards, who, in the Python-Spamalot-esque nature of the show, is the King Arthur - the one who remains 100% serious as the goings-on grow more and more bizarre.
ETA: Edwards gets massive laughs and a tremendous round of applause for uttering one word in the midst of the second act. I won't reveal the circumstances, or the word, but I will say that I'd vote for him before I vote for Hillary, Obama, or Mamet's guy (despite brilliance by Nathan Lane).
Sets are geniously spare by Peter McKintosh and allow for a multitude of moveable props. His costumes are quite fine, as well. Kevin Adams' lighting is perfect.
Noticed a bunch of critics in the crowd today - among them, the eternally frowning John Lahr cracked a smile! I'd be interested in hearing what Ben Brantley things - since he wrote it up during his London trip last year.
THE 39 STEPS is pure, unadulterated, good, clean fun. And it's original. Can't beat that.
Updated On: 1/12/08 at 06:41 PM
