'39 Steps' a flawless spoof

Review

Jobsite's production of "The 39 Steps" is hilarious, intriguing, highly imaginative and, in general, a terrific romp for fans of Alfred Hitchcock and/or British humor.

Written by Patrick Barlow, based on an original concept by Simon Corble and Nobby Dimon, and drawn from John Buchan's 1915 novel, "The 39 Steps" spoofs Hitchcock's 1935 film of the same name. The storyline, most of the dialogue and the characters are the same in the staged version, but the melodrama has been heightened.

Pencil-thin mustaches, men in trench coats, bumpy train rides, Scottish brogues, love, fog — it's all been tweaked to push a dramatic spy thriller into the realm of parody. Also, three of the actors take on numerous roles, adding to the fun.

The story focuses on Richard Hannay (Matt Lunsford), the handsome singleton returning home to Britain after living in Canada. While attending a London show that goes awry after a gunshot is fired in the audience, Hannay meets the mysterious Annabella Schmidt (Amy E. Gray). She's a spy and warns him that nefarious forces are after her. She mentions the 39 Steps and Scotland, and is later murdered in his flat.

Fearing that he'll be wrongly blamed for her death, which he is, Hannay escapes to the Scottish moors. A winding journey dodging policemen and thugs (Spencer Meyers and Brian Shea) leads him back to London, where he finally learns who and what the 39 Steps really are.

Director/costume designer Katrina Stevenson did a fantastic job culling the best performances from her cast in a production with virtually no set and all props. She controlled the mayhem that the numerous quick changes created but she also allowed the actors to run with their talents and imaginations.

Fine examples of this took place during the train scene. Meyers and Shea brilliantly, and literally, changed hats to morph into different characters, which occurred without error over a matter of seconds. Then, Stevenson and the cast created a scene outside of the train. The actors expressed the tension and fear of holding on to the wrong side of a speeding vehicle, flapping their jackets to illustrate a high wind.

I had no problem visualizing the real thing — that's just how good everyone was at realizing the immaterial.

Lunsford, the only cast member to stay in one character, was the perfect straight man. He captured the dash and panache of the 1930s man about town. Gray also conveyed old Hollywood charm and mystique, especially in her turn as Annabella.

Finally, both Shea and Meyers were deliciously funny and skilled, moving in and out of characters with unmatched deftness and precision.