Leave it to New City Players (NCP) to find the perfect “new” (to South Florida audiences) play to open their milestone Tenth Anniversary Season. The ambitious young theater company, which began with bold idealistic dreams of making a difference in the community through “must-attend-live” creative theatrical engagement and performances, has definitely arrived! By presenting both classics and originals, along with lesser-known fantastic finds, they’ve reaped dedicated followers of all ages and walks of life, prestigious local awards, and ongoing critical acclaim.
I’ve always admired how this company stepped out a limb – be it by tackling a famous classic and still managing to make it their own or devising “live” old-time radio plays while creating new holiday traditions. And yet, by “boldly going where no one has gone before” they’ve remained humble in their acknowledgment of the great writers, actors and producers of the past.
This time, advertently or inadvertently, they’ve managed to put their finger on exactly what our head-spinning, daily-news-cycle weary community needs most! Namely, a fresh-air burst of clowning around like we’ve never experienced! It’s why New City Players chose Patrick Barlow’s 2005 madcap, vaudeville-style adaptation of Alfred Hitchcock’s 1935 landmark, noir spy-thriller movie which, itself, was only loosely based on John Buchan’s 1915 first English spy-thriller novel – all titled, THE 39 STEPS.
In the words of gifted, always thoughtful, producing artistic director, Tim Davis: “‘The 39 Steps’ represents everything we love about live theatre – the magic of transformation, the power of imagination, and the pure joy of shared laughter. This production reminds us that sometimes the best way to navigate life’s chaos is with humor, creativity, and a willingness to embrace the unexpected. It’s a love letter to both classic cinema and the limitless possibilities of the stage.”
NCP company member Ali Tallman, who’s also often credited around town as a keen-eyed dramaturg, completely aced her role as director/choreographer of this lightning-fast-moving production. Tallman’s “Note from the Director” is a deeply observant reflection (her inner dramaturg speaking out) on some of the play’s more serious underpinnings. I suggest you read it and ponder (maybe in a quiet place, once you get home). And, Ali, you certainly aren’t alone in that “familiar feeling” of a world plagued by rising fascism. In fact, it’s how I describe the storyline.
Throughout “The 39 Steps” we laugh at outrageous plot twists and the daredevil maneuvers of a victim-of-chance who’s unwittingly targeted by an evil espionage ring out to defeat the British and destroy civilization as we know it. World-weary, noncommittal, visiting Canadian Richard Hannay (who’s staying at London’s prestigious Portland Place) is rarely believed by the good guys when he’s accidentally thrust into the role of savior of the free world (given the German accents and 1930’s timeframe, he’s obviously eluding the Nazis). The bad guys are unrecognized – even embraced by society – because they’ve cloaked themselves in an aura of respectability. Innocent Hannay finds himself on the run from both real and phony cops, compromised judges, and smarmy intelligence agents in high places.
A few kindly women, and some men, come to his aid only when he pretends to be escaping an illicit love affair; NO ONE believes his true story of being set up for a murder he didn’t commit at his fancy-address apartment. The 37-year-old attractive but basically ordinary Joe has his inconsequential life turned upside down overnight. His new reality consists of high-speed, spy-thriller-style chase scenes (incorporating cars, trains, even planes) and a stream of femme fatale (and not fatal) encounters.
Fighting for life, dignity and country brings out daring talents of misdirection, oratory, and survival instincts Hannay never knew he possessed as he realizes it’s up to him, alone, to prevent a game-changing formula from falling into enemy hands. Then maybe he can finally allow himself to enjoy the love of a similarly spunky woman. Of course, there’s a spy romance trope brewing in the background!
You don’t need to have watched Alfred Hitchcock’s “The 39 Steps” film to have a ball laughing at Patrick Barlow’s parody adaptation (the two-time Tony and Drama-desk award winner allows for multiple theatrical interpretations). My theater partner hadn’t seen it; still she completely got the story (NCP’s decision to stress the humorous storyline was right on target). While I, who’d decided to watch the movie on Prime the night before, was secondarily amazed at how closely the plot followed the movie script, including plenty of verbatim dialog, yet still managed to turn the entire two-hour show (plus a 15-miute intermission) into what can only be described as well-connected, slapstick and vaudeville-style acts complete with song-and-dance numbers, original shadow-puppet chase scenes, great sound effects, smoke and mirror visual effects, with ongoing 1930s-era romantic and thriller musical backgrounds, and more.
Advertised as a cast of four playing over 150 zany characters might seem overwhelming, so I’ll say right out. There are only two named main characters. The man, Brandon Campbell, plays our hapless hero Richard Hannay with incredible spunk, passion, impressive verbal and highly physical comedic timing. I’ve seen Brandon in various roles in the past, which he always inhabits completely and believably, though I must say this one might represent his most extensive and demanding. And he absolutely nailed every single move and line – alone and in combination with the multiple-persona variations of his cast members. I was so taken by his role, I actually had a hard time accepting him in a baseball cap – sans luxurious wig and pencil-thin moustache – during Sunday’s Talkback.
Schiavone) desperate pleas and brings her to his Portland Place flat after shots are
fired at the theater. Photo by Kevin Ondarza.
I know “150 zany characters” are advertised, and we’ll get to them soon. But now let’s focus on the primary trio of women in Hannay’s life: Annabella, Margaret, and Pamela – all played to perfection by Camille Schiavone who, based on her Talkback comments, is quite the cutup in real life as well. Schiavone says she had no trouble keeping the distinctive foreign accents and body postures of her leading ladies straight thanks to a quick switch of wigs, dress and lipstick (for which she credits Casey Sacco’s dedicated expertise in costume design).
Of course, we simply “saw” three very different women. Saucy German spy Annabella, innocent Scottish farmgirl Margaret (who’s also helpful and aware) and her last and longest role: Pamela, the ubiquitous Hitchcock blonde. As Pamela she plays an upper-crust Londoner who becomes a contortionist while handcuffed to Hannay as he dashes to escape their phony police captors. The locked-together pair’s attempts at navigating a narrow wooden gate are a delicately choreographed dance of desperation that’s extremely difficult to execute, but they only slip up when they should and leave us gasping with laughter.
Playing just about everyone else – from milkman to dumpy servants and wives (echoes of Robin Williams’ Mrs. Doubtfire here), dancing cockneys, a glorious singer, and just about every character in between – we have the incredible duo of Rayner Gabriel as Clown 1 and Kalen Edean as Clown 2. In case we forget (and how can we?!) that they are meant to offer a dollop, no actually an overflowing tub of clownish humor to the proceedings, they also sport little red clown noses. (You’ll be invited to pick up a larger clown nose as you leave the theater.)
These two “clowns” are so omnipresent, sometimes even simply switching hats ten times or more in a madcap alternate character portrayal, that they have you holding your breath. They utilize physical humor galore, along with a multitude of lines in various accents – they are equal true stars of this show. And since their comic portrayals look nothing like their cast pictures, I’m simply going to applaud them both (I wouldn’t want to be guilty of a credit switcheroo)!
Tim Davis really did find the perfect cast and, as he mentioned, since they all arrived as experts in accents, there was no need for a dialect coach. We can tell we’re in for a special treat as soon as we enter the theater, immersed in old-time Music Hall music and presented with a glorious Music Hall stage. Art deco style and lighting frames a full-width red curtain that opens to elegant British furnishings. I admit I can’t recall ever seeing Island City’s stage looking so glamorous. My heartfelt admiration to scenic designer Michael McClain, props designer and set dresser Jameelah Bailey, MNM Builds scenic builders, lighting designer Annabel Herrera, technical director Johnbarry Green, board operator/hair & makeup designer Elon Donovan, videographer Kevin Berriz and content manager/videographer Alex Joyel, intimacy choreographer Grace Cirillo, with stage management by Amber Mandic assisted by Andrea Guardo-Cuao.
Ever on with the unexpected, Tim Davis greets his audience with a humorous story about the Jewish sage Rabbi Akiva (we’ve just celebrated major Jewish holidays, and I guess Jews these days can use all the support we can get). I’ll leave it there, so you can enjoy his punchline, followed by the most iconic clown shtick of them all! My final word here is: Go see this show! Where you enter laughing (even from the company founder’s welcome) and when it’s over, feel reluctant to leave this “happy place.” But at least last Sunday, there were fresh cookies (alongside the clown noses) to sweeten our way home.
Beat the seasonal heat and early fall doldrums by getting your steps in fast to New City Players’ insanely funny and fabulous THE 39 STEPS. Playing only through October 19 at Island City Stage, 2304 N Dixie Hwy, Wilton Manors 33305. Tickets at https://newcityplayers.org. For student and group discounts email the box office at boxoffice@newcityplayers.org or call 954-376-6114.
Weekend Wine Downs! Enjoy libations and casual post-show discussions on Friday and Saturday night with audience members and the creative team.
Sunday Talkbacks! For a deeper dive into the creative process, join the cast and creative team after each Sunday matinee performance for an interactive talkback.
