Paul DeBoy may be the hero of "The 39 Steps," which opened last night on the Rep Main Stage, and his performance is deft, properly nuanced and excellent, but it's the other three cast members -- Tyrone Mitchell Henderson, Michael Keyloun and Marina Squerciati -- that collaborate to make the splendid Hitchcock spoof into a totally charming production.
More than a half century ago, Alfred Hitchcock directed a movie based on the novel of the same name by John Buchan. Robert Donat and Madeleine Carroll were the stars.
Patrick Barlow's adaptation, which will be at the Rep through Jan. 31, actually follows the movie plot, but isolates many moments that may have been serious on screen but which are hilarious in a different context and when performed by this splendid cast.
For example, Donat is saved when a bullet aimed at him is stopped by a hymn book in his breast pocket. That is described by Keyloun on stage, who pauses and adds, "Some of those hymns are really hard to get through." It's that sort of humor, and the many references to other Hitchcock movies, that keep the play rolling, riding a wave of often bad jokes. The political speech by DeBoy, some of the handcuff business between DeBoy and Squerciati, and other delightful nonsense also found homes on both screen and stage.
Keyloun and Henderson are some of the best quick-change artists to bless the Rep stage, and they work beautifully together, especially in a lengthy, absolutely beautiful routine with hats and accents defining their characters. They change sets with the speed of light, the silent humor of Marcel Marceau, and bring lots of humor to the activities. Meanwhile, Squerciati shows herself as a superb physical comedian with a body as supple as a gymnast, as finely tuned as a Stradivarius. The quartet of actors are a tribute to director Martha Banta.
Barlow brings in many references to Hitchcock's work, beginning with the opening music, lifted from the "Psycho" score. I saw references to "North by Northwest," "Rear Window" and a number of others, and of course there was the mandatory cameo appearance by the great director.
James Wolk designed the very adaptable set, with some splendid doors and windows, and Lou Bird's costumes certainly went off and on in admirable style.
At the Rep through Jan. 31
-Joe
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