Four Actors, Thirty-Nine Steps, One Breathless Night at Players Club of Swarthmore

by Ellorah Maeve

The 39 Steps started as an adventure novel by John Buchan in 1915, which started as a weekly series in a magazine. There are many film adaptations; but the most famous version is a spy thriller film from 1935 directed by Alfred Hitchcock, who was also known as the “Master of Suspense”. But for the play, adapted by Patrick Barlow, it was turned from a mystery thriller into a slap stick comedy. Audience members of all ages will enjoy the moments of truth and hilarity. You don’t have to have watched the movie adaptation or the novel to have a great time! This play is about an ordinary man named Richard Hannay who feels he has lived a very unfulfilling life. A man who somehow ends up witness to and framed of murdering a German spy named Annabella Schmidt. Once depressed and directionless, Richard is now thrust into a world of intrigue, spies and a mystery…the truth behind what The 39 Steps even is! (Dun dun dun!)

The lobby has posters of Alfred Hitchcock’s most famous movies. When first entering into the theater, you can't help but see the opera boxes at both ends of the stage. The beautiful details are from scenic artist Karalyna Stewart and painted by Suzanne Hall, Mya Iannuzzi, Phoebe Myers and Joe Selfridge, had me feel as if there were more seating above us. The curtain speech is done like a British radio show with crackling speaker sound effects. The show does something interesting; the audience is shown the original movie trailer and reminds us to keep the vignettes in mind and see how the play has similarities and differences with the movie. And with that…the show begins with elaborate, choreographed movements of props including whiskey glasses, telephone, floor lamp and furniture into its proper place onstage, props designed by the production's producer Denise Kolodziej. This is done successfully by the crew (Michaela Morgan and Dave Zaffarano, who is also credited as Production Assistant) and the off night performers of Clown #1 & #2 (Geremy Webne-Behrman, Max Segarnick); orchestrated by stage manager Ashley Senss Jouce, assistant stage manager Maura Taylor, and crew chief Ellen Taylor. 

This production definitely puts the word “community” in community theater, thanks to the director Julie Zaffarano and assistant directors Keenya Jackson and Vince Vuiono. The most hilarious moments of the show is a collaborative effort from the start. To quote Julie’s direction note: “Crafting this show took more than a village–it took a city!” Set and lighting design by the absolutely gifted Ed Robins is minimal with set pieces built with versatility and functionality. With the help of builders Greg Cream, George Mulford, Dave Zaffarano, and construction support by Ellie Burckhardt, Max Hibbard and Jimmy Psitos; set pieces suddenly change into something else right before your eyes. Be sure not to blink during this show or you will miss it! The lighting skillfully matches the mood of each scene with the support of Bruce Nutting and Alan Stamford. Sound design by K Cook, assisted by Dan Jankauskas, truly creates a fifth actor in this production. The choices of underscore from Johannes Bowman for certain scenes heightens the hilarity of the antics of the play. Danielle Marone's choreography for many of the dances is a delight, especially moments running across the Scottish countryside and the tango sequence. The vaudeville-esque fight choreography done by Andrew Staub looked a lot of fun to do (in the eyes of an avid performer of stage combat such as myself) especially the train escape, ending with someone jumping off of the train tracks. Costumes designed by Betsy Berwick, wig and makeup design by Randino Del Rosario, and assisted by Reba Ferdman, Dorothy Kowal and Claire Ennis were of the time period, but designed in a way that made quick changes appear seamless.

Even a costume change as simple as changing a hat was only as effective as the Clowns who played over 50 different characters. Thomas-Robert Irvin as Clown #1 is at his most hysterical during the beats and pauses taken in scenes, whether it was written in the script or vamping for thunderous applause. Two of my favorite characters Irvin plays are the Scottish crofter John, Margaret’s husband, and Professor Jordan, the evil leader orchestrating the transport of the secret cargo. Hannah Pearsall as Clown #2 is a masterclass in character acting and physical comedy. She is at her best as Mrs. Jordan, Doctor Jordan’s wife, with excellent comedic timing passing through the infinite doors of the illustrious man’s house. Mr. Memory is more of a background character in most scenes, but Pearsall’s reactions to the dialogue happening around her makes her hysterical to watch. The Clowns have a chemistry that rivals that of even the lovers of the play The 39 Steps, (dun dun dun!) The most difficult scene in the play, the Act 1 train station scene, has Irvin and Pearsall switching between multiple characters in mere seconds. It certainly deserves massive kudos for tackling such complicated tracks.

Adam Corbett as Richard Hannay shows the audience a perspective of a lost man with no direction in his life. Even in the fast-paced banter of a play like this he finds moments in monologues to be grounded in the plot. A plot that is so convoluted, you can forget the original source material was made in a more dramatic, serious lens. The level of stamina Corbett has to be on stage for the majority of the show is admirable. He can deliver the level of physical comedy needed for this production. Corbett does so with genuine, serious reactions toward each moment that happens onstage. Kathy Gilbert has the challenge of being three characters; Annabella Schmidt, Margaret, and Pamela. The best way I can describe Gilbert is she is truly a chameleon. When each woman first appears on the stage, you completely forget these alluring women are all being played by the same actress! Her accent work is exceptional; with the help of the very talented dialect consultant Stacy Skinner. Gilbert does German, Scottish and British accents with ease and confidence. The chemistry Corbett and Gilbert share on the stage is a perfect blend of Hollywood cliche and tender, real moments between two lovers.

You cannot have community theatre without “community”; and this production is evidence enough of this sentiment. From the ushers to the spotlight crew to the fly riggers, this show would not be as fantastic without everyone's hard work and dedication. For fear of spoiling the best moments of the show I will give my top three moments of The 39 Steps, (dun dun dun!): the murder of Annabella Schmidt, the scene with the window frame (if you know, you know), and Richard’s impromptu speech at the political rally. Richard's speech calls for peace in a time where many are so eager to talk about war. Richard Hannay is like us in many ways; downtrodden by the weight of the world on our shoulders. He learns a very valuable lesson to get to this point of the play; to find courage when staring death in the eye, to lend a hand to those in need, and to never give up on your dreams. While hilarity is abundant in this production, that moment resonates with me. To quote director Julie Zaffarano: “This production is PCS and community theatre at its best–people helping each other for the love of theatre and community.”

The 39 Steps runs through April 25th and you can get your tickets here: https://ci.ovationtix.com/117/production/1238884