The play follows quintessential British gentleman Richard Hannay, played by Mateo Oxley, who, after an eventful night at the theatre, finds himself entangled in a secret spy plot. Framed for murder, he goes on the run, fleeing to Scotland in search of answers behind "The 39 Steps." Along the way, he encounters an eccentric array of bizarre and hilarious characters, most of whom are brilliantly brought to life by Danielle Bird and Phil Yarrow. But can Richard clear his name before it’s too late?
Bird and Yarrow shone as the two ‘clowns,’ seamlessly transforming between a vast range of characters in an instant, each with increasingly outlandish accents and physical quirks. Their dynamic performances, packed with boundless energy and comedic brilliance, were at the heart of the show’s success.
Oxley was the perfect straight man to the surrounding madness, maintaining Hannay’s unwavering composure amid the absurdity. His reactions, particularly as he attempted to navigate the ever-changing accents and characters around him, added to the hilarity.
The set played a crucial role in the production’s ingenuity, with doors and windows appearing from nowhere and props constantly morphing into new uses. One particularly clever moment was the transformation of a lectern into a car—a testament to the show’s inventive staging.
Mei Mei Macleod’s diction could have been clearer at times to ensure every comedic beat landed, but her presence and interactions were essential to the play’s overall charm.
The performance felt like the delightful love child of The Play That Goes Wrong and a classic period farce, bursting with wildly improbable situations and relentless physical comedy. The cast worked tirelessly to create a theatrical whirlwind of chaos, packed with sharp gags and brilliantly ridiculous humour. Among the many standout moments, the lamppost gag was a personal favourite.
This was skilful comedy at its best—ingeniously staged, superbly acted, and utterly side-splitting from start to finish.
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