By John Lyle Belden
In a bizarre coincidence that Alfred Hitchcock would find delightful, this last weekend saw two openings of the British thriller-turned-farce, “The 39 Steps,” adapted by Patrick Barlow from a four-hand comedy by Simon Corble and Nobby Dimon, heavily based on Hitchcock’s 1935 film of the same name, based somewhat on the 1915 novel by John Buchan.
The movie is notable for helping establish the drama film tropes of man-on-the-run and the potential comedy goldmine of two people who don’t get along being chained to each other. The more interesting scenes and twists? Hitch’s idea.
As noted, there are two productions spaced about three counties apart. Hyperion Players presents its “39 Steps” at the Switch Theatre in Fishers. Meanwhile, Eclipse Productions plays its version in Waldron Auditorium in downtown Bloomington.
The plot (for both): In the 1930s, Richard Hannay, a Canadian living in London, seeks diversion in a music hall featuring a performance by Mister Memory, during which he encounters a woman who ends up back at his flat (oh!), then mysteriously stabbed in the back (ugh!). She had warned Hannay of some international spy intrigue, and her death convinces him to go to Scotland – while London police seek him for the woman’s murder – to figure out what’s happening, including the identity of The Thirty-Nine Steps. On the way, he dodges a police patrol by kissing a woman on the train, who responds by turning him in to his pursuers. As luck will have it, she will later encounter him again, and again betray him. Mayhem follows Hannay up to the Highland moors and eventually back down to London for the climactic showdown that could clear his name and save England (at least for a few years).
The Barlow script amps up the inherent humor of its Hitchcockian quirks and is staged with improvised props and four actors: one to play Hannay, one to be the women he encounters, and a couple of “Clowns” who play all the other roles.
The Hyperion production does this play silly; the Eclipse production does it weird. Both do it excellently.
In Fishers, Hyperion Players emphasizes the master of suspense. The script does have nods to other Hitchcock films, but here we also get a “Frenzy” of references in the curtain speech. Also, there are a few birds around the stage (crows, I believe, which counts as attempted “murder”).
Josh Elicker plays Hannay appropriately amused and bewildered by all the bizarre goings-on. Sarah Eberhardt is the leading lady, employing comically outrageous accents as German Annabel Schmidt and Scottish Margaret, contrasted with the more natural manner of Pamela (the woman on the train). The Clowns are frenetically and effectively played by Becca Bartley and Ryan Moskalick, who makes a brilliant Mister Memory. Evangeline Bouw directs.
The set, designed by Beth Fike, looks like a stage with random pieces upon it like it’s between shows. The players make good use of items including a door frame, a piece of wall with a window, and a single comfy armchair. The plot moves along earnestly following the beats of the film, but in a manner showing they don’t take themselves too seriously. The result is like a spy-thriller sitcom.
Down in Bloomington, Eclipse (no relation to the summer student company in Indy) emphasizes the Clown aspect of the production. In fact, in a nod to theatre traditions including commedia dell’arte, we have one regular actor, Konnor Graber as our dashing Hannay, dealing with a small troupe of traditional costume-and-makeup clowns: Shayna Survil (the leading ladies), Steve Scott, Vera Wagler, and Jada Buehler. Having three rather than two “Clown” players makes for creative division of roles, including Mister Memory simultaneously presented by Wagler and Buehler, working almost like conjoined twins adorned in classic Tragedy and Comedy masks.
Speaking of which, assistant director Jeremy J. Weber invites all in attendance to put on one of the provided masks (yours to keep) to help immerse yourself in the goings-on. Director Kate Weber and the company arranged the seating surrounding a central area (suggesting a circus) where most of the action takes place. Gags and props are exaggerated, and a fight scene becomes like a professional bout with Survil walking the perimeter with a Ring Girl’s sign. The wild goings-on and sharply executed physical comedy almost overshadow the story’s plot. Still, this unique experience is worth the drive down to B-town.
So try one – or both! – of “The 39 Steps.”
Hyperion’s plays Thursday through Saturday at The Switch Theatre (Ji-Eun Lee Music Academy) 10029 126th St., Fishers. Tickets at hyperionplayers.com.
Eclipse’s plays Thursday through Sunday at Waldron Auditorium, 122 S. Walnut St., Bloomington. Tickets at eclipseproductionscompany.com.
Plays with John & Wendy 