The 39 Steps - A Play Response

 A response to Seattle Pacific University's 2023 production of The 39 Steps

While preparing for the opening week of The 39 Steps, I considered researching the show multiple times. However, by a combination of insistent cast members and my own packed schedule, I ended up attending Preview Night with no knowledge of the production. In essence, I went into this show with no expectations and no understanding of what would be presented to me. Working in props, I saw some of the stranger items passed from person to person but knew very little of the show itself. Not working backstage for this show provided me with a blank slate, which I believe benefitted my experience greatly.  I saw the production three times, enjoying it each night, and anticipating jokes and segments all the more with each iteration. Since I had experience with the production of the items within the show, I was able to anticipate jokes within the style of the show, which was a unique and fun opportunity.

  When it comes to the set specifically, the stage itself is incredibly important for this show. From the built arch and tableau curtains to the pit seating, the environment of this show builds from the moment you walk into the theatre. As a few scenes of the show take place in a theater building, it is a very immersive experience to use the audience space to its fullest extent. Above all else, this show values atmosphere, which is reflected in the stage’s presentation. When it came to on-stage scenic elements, however, the set was minimal. A few chests, ladders, an armchair on a small wagon platform, and a couple of chairs built the boundaries of the characters’ world. Props played a larger role, but still a small one in the show’s entirety. Briefcases and biscuit tins were present, but often used for one joke entirely, then disregarded. The show’s minimal scenic onstage presence was not a detriment to the production, however.  This show used its small arsenal of set pieces to their fullest extent, and the most enjoyable part was how each item was often used in many different ways.

The comedic nature of the show is largely aided by the constructed set and use of on-stage pieces, most notably in the ways it asks the audience to suspend disbelief. For example, in the car scene in Act Two, the car is built on the spot by one actor, allowing the construction of it and the finished product to be a joke. Of course, a set of chairs, a trunk, a steering wheel, and a huge headlight won’t look like a car. However, it not only provides visual comedy but also creates an environment where audience members can see the setting as the actors do, without walls or doors. Once the scene gets moving, the absurdity of the “car” is forgotten, with the audience’s attention drawn to whatever strange snack item the actors improvise eating that night. The show’s literal construction aids in its presentation immensely. The stage is truly a container for the actors to perform in, less than an art form in itself. In some larger shows with intentional and detailed sets, such as Phantom of the Opera or Finding Neverland, the set is almost a character in itself, serving a large purpose within the story and settings. The 39 Steps’ set design is more similar to shows like Come From Away, where the intentional environment built by a minimalistic set is intended to highlight the actors and world, but not serve as a point of attention.

Moreso than the story, I believe the scenic construction of The 39 Steps aided the show’s atmosphere and presentation. While the plot takes a bit to get adjusted and moving, the stage’s construction creates a near-blank slate for action to take place. The stage’s intricate border with minimal interior construction allows the actors and roles’ absurdities to be the focal point, rather than detailed scenery that very well could’ve been used. Many scenes within the show, such as Hannay’s chase through the moors in Act One, or the several hotel and house scenes, could have utilized more scenery quite easily to build out their environments. This production, however, refrains from that, keeping the stage minimal in most scenes, with the exception of the back room of the theatre, where Mr. Memory discloses his secret, and Hannay’s flat. Neither of these scenes have an abundance of comedic elements, as they’re used for worldbuilding and the story’s conclusion, which makes their display all the more relevant to the show’s previous routine. Scenes that do have a focus on comedic elements keep their scenery down to a minimum, often with items used in ways they wouldn’t be originally perceived. 

The 39 Steps as a production relies heavily on its actors, allowing the scenic design to take a less involved role in the performances themselves. As the play is well-written, and the jokes are designed to be customizable, there are many opportunities for the show to be entertaining without being visually impressive, which is a large part of the production’s appeal. While the numerous lighting and sound cues of this show add to the comedy, the set, pointedly, doesn’t. It creates a stage for actors to act on, in the most literal sense of the word. The four performers in this show, playing many more characters, serve as the ever-present focal point, and the set should highlight this specificity. As mentioned earlier, the set in this show is similar to that of the musical Come From Away, another small-cast show with a plethora of different characters, often denoted by a different hat or accent. There is something to be said for how both productions utilize one specific scenic environment to depict a large number of settings, in turn, housing a large cast of characters. The 39 Steps’ scenic presentation, in its entirety, values the actors and their performances above all else, which is a refreshing take on a performance environment. Above all else, this show’s scenic design is a stage in itself, framing the actors in their world, and allowing us a proscenium-shaped window into their stories.