By Joe Szekeres
Many years ago, I recall vividly being scared while watching Buffalo’s WKBW Friday night late show’s presentation of two film classics - ‘The Birds’ and ‘Psycho’- by the master of suspense, Alfred Hitchcock. I only remember certain scenes from both films that scared me. To watch them again forty some years later and wiser, I can now appreciate the unique film techniques Hitchcock used to create suspense in these two classics.
Much like film, live theatre can also create suspense through a variety of specific techniques. Thanks to Patrick Barlow, local Toronto audiences now have a chance to see a suspenseful play with a twist of wit and a dash of funny.
The Scarborough Theatre Guild opened its 61st season with Barlow’s “wonderful parody of the classic 1935 film ‘The 39 Steps’ by Alfred Hitchcock” according to Director Kevin Shaver. I had seen another production of this play in Durham Region several years ago and was impressed with the fact that four actors playfully whisked me back to a bygone era of a story line theme that Hitchcock followed in a good number of his films – the innocent man who finds himself unintentionally entangled in a predicament not of his choosing. In ‘The 39 Steps’, suspense builds with the inclusion of a femme fatale, bad guys, car chases, romance and murder all conducted humorously at times in lighting speed. Additionally, two of the actors played over a total of twenty-six characters combined usually in very quick costume changes.
It was a very strong production several years ago thanks to a cast and crew with an innovative vision which made the play soar.
The Guild’s current production, now onstage until October 19, is solid thanks to the creativity of director Kevin Shaver, producer Darlene Thomas, and a cast and crew who readily took me back once again to that same time era of the late 1930s and early 40s. It’s an extremely simplistic set concept courtesy of Shaver. The script calls for an elaborate staging, but Shaver made a wise choice not to focus on that element as it is the breakneck action and melodramatic characterization upon which we are to focus. The characters enter from all sides of the auditorium.
There are three flats at the back of the playing space which appear to have painted on them different scenes of the English countryside. There are coat racks far stages right and left (which I assume will hold some of the costume changes as the show progresses). A comfortable looking 1940s easy chair, which shows signs of being used, sits centre stage with a blanket on it. A side table sits to its right with a rotary dial telephone. From my seat I couldn’t tell if it was from the time period or not. A standing lamp reminiscent from the 1940s is placed behind the easy chair.
I especially liked the preshow and set change music thanks to sound designer Andy Roberts and Kevin Shaver. The big band sound has always intrigued me for its musicality. Period pieces are always a challenge in trying to capture the look of the era. Andra Bradish and Darlene Thomas’s work in costumes and hair/makeup respectfully captures that look. For example, the tight-fitting dress of Annabelle at the top of the show appropriately evoked Hitchcock’s vision of the mysterious woman.
Lighting and sound must be timed impeccably to capture the humour. We are whisked back and forth between multiple scenes so there are numerous quick set changes where we hear some of the music from Hitchcock’s other films. According to Shaver, assistant stage managers Macalib Chin-James and Kiera Smith (set changers) are cleverly dressed in shirts and ties in the same way Hitchcock liked to have his film assistants dressed. As performances continue, I’m sure the pacing of these changes will pick up even more.
As Richard Hannay, the man who finds himself in a predicament not of his choosing, Rob Magee has a Clark Gable look about him thanks to the mustache he sports courtesy of Ms. Thomas’s make up design. Mr. Magee becomes the likeable hero of the story caught in a vortex of downward spiralling events that could lead to his demise. Mr. Magee shows he is also up for some extremely funny bits. One occurs early in the production where he must shimmy himself carefully out from under a dead body.
Lindsay Bryan plays three different roles in this production. Her femme fatale characterization of Annabelle is mysteriously seductive which begins Hannay’s descent into the unknown. Like Mr. Magee, Ms. Bryan also has a good hold on some of the comedic moments especially as the wife of one of the Scottish proprietors. At times, I could not hear some of Ms. Bryan’s dialogue clearly, so she’ll have to be cognizant of this in future performances.
As the two clowns who play over twenty-five combined characters, Tommy Boston and Paul Bryant come dangerously close to stealing the show for their comedic antics and fast paced movement behind the scenes from one characterization to the next. Their bad guys performance is sinisterly dastardly while their characterization of the Scotsmen is a hoot.
There are some wonderfully staged moments. Pay close attention to the airplane scene as it’s a riot. I wondered how the train would be captured on stage and it works well here but be prepared to use your imagination. If people are film buffs, they will know Hitchcock used to make brief appearances in his films. Keep your eyes pealed and ears open as Mr. Shaver pays homage to Hitchcock and follows suit in a unique appearance.
‘The 39 Step’ runs October 10, 11, 12, 17 and 18 at 8 pm and October 6, 13 and 19 at 2 pm at the Scarborough Village Theatre, 3600 Kingston Road, Scarborough. For further information see the website.