‘39 Steps’ out of a blind spot

By DANIEL SHOCK
A Seat on the Aisle

Until last Thursday night, The 39 Steps was a blind spot for me. I’ve never seen Hitchcock’s original film, nor had I experienced Patrick Barlow’s comedic stage adaptation. I have seen the big Hitchcock classics – Vertigo, Psycho, Rear Window, North By Northwest – all movies I admire. I’m always a little surprised at how they still feel ahead of their time.

The only Hitchcock-inspired comedy I’d previously seen was Mel Brooks’ High Anxiety, which was okay – but not Brooks at his best. So, honestly, I was skeptical. Could Hitchcock truly be funny? Could it work? Turns out, not only does it work, but it worked so spectacularly well that I left convinced I’d never dare audition for this play – there’s no way I’d be able to match the comedic brilliance of this cast. They were thrilling – in a funny way!

The madness kicks of improbably enough at a vaudevillian-style performance in London where our hero, Richard Hannay, is watching “Mr. Memory,” a nemonist (someone who has developed amazing memory skills) famed for recalling obscure trivia. When gunshots interrupt the performance, panic ensues, and Hannay finds himself clutching a mysterious and frightened woman named Annabella Smith. Before he knows it, he’s taking her back to his flat, where she reveals she’s actually a spy – and confesses that she fired the gunshots herself to distract assassins hunting her. Annabella cryptically warns Hannay about a sinister plot to steal crucial British military secrets, masterminded by a shadowy figure missing part of a finger, and whispers something about “The 39 Steps.”

Soon after, she’s dead, Hannay’s on the run, and he must flee across the English countryside. He jumps onto speeding trains, dodges swooping airplanes, and unwillingly gets dragged into car rides he never signed up for, encountering hilarious, eccentric characters at every turn. This bonkers adaptation blends witty humor, mystery, and adventure into a delightfully chaotic journey as Hannay tries to clear his name and decode the enigma behind The 39 Steps.

Sarah Eberhardt and Josh Elicker in a scene from The 39 Steps. (Photo by Rob Slaven / IndyGhostLight.com)

Under Evangeline Bouw’s sharp direction, the small cast of four pulled off a comedic feat that left me genuinely impressed. Josh Elicker brought just the right amount of stiff-upper-lip charm and constant befuddlement to Richard Hannay. He was convincingly dashing yet hilariously perplexed by the absurd situations he kept stumbling into. Sarah Eberhardt managed to juggle three separate characters – Annabella, Pamela, and Margaret – each clearly defined, funny, and full of clever touches.

But Ryan Moskalick and Becca Bartley, simply billed as “Clown 1” and “Clown 2,” are the comedy engine powering the whole show. They portray what seems like dozens of eccentric and quirky characters, often switching costumes, accents, and even genders at lightning speed. Opening nights, especially Thursdays, often mean a smaller and quieter crowd, but despite that, Moskalick and Bartley filled the room with infectious energy. I can only imagine how fantastic this show would feel with a packed audience roaring with laughter.

My only real nitpick would be with anyone who missed out on seeing these two comedic geniuses in action. They combined slapstick humor, sharp wit, and physical precision to create genuine comedic chaos.

The production itself was cleverly minimalistic, with a charming set designed by Beth Fike. Rather than relying on elaborate scenery or props, the show leaned heavily into creativity and imagination. Ordinary items like ladders, chairs, or hats became airplanes, cars, and entire landscapes. One of the best parts of the show was its playful acknowledgment of being a theatrical production. If you’ve ever laughed at The Play That Goes Wrong, you’ll have a sense of the style here. Watching actors gracefully handle props malfunctioning or transform simple objects into elaborate set pieces was pure entertainment. At times, the precision and choreography of the set changes were so amusing and clever they deserved their own applause.

The costumes by Emily Hauer and the quick-change artistry coordinated by dresser Karyn Dekker were phenomenal. The wigs, designed by hair and makeup artist Hannah Janowicz, were convincing and impeccably executed. I’ve seen professional quick-change artists perform before, but honestly, this cast might give them a serious challenge. Many costume changes happened right before our eyes without us noticing until the reveal – pure magic.

Sound design by Zach Catlin and lighting design (the program didn’t list a lighting designer – or if it did, I missed it) added significantly to the comedic impact, perfectly timed to enhance jokes and punctuate hilarious moments.

This was the first Hyperion Players production I’ve seen, and I can guarantee it won’t be the last. From actors and designers to the backstage crew, everyone involved brought incredible talent and passion to the show. Evangeline Bouw and her team have created something genuinely special – funny, inventive, and incredibly enjoyable. Whether you’re a Hitchcock fan, love a good laugh, or just appreciate fantastic theatre, do yourself a favor and go see The 39 Steps. Seriously, don’t miss it!

The 39 Steps runs through March 29 at Switch Theatre in Fishers. For tickets and more information, visit hyperionplayers.com.

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