39 Steps come home to the West End after a break in which it was much missed. Just a short walk from it’s original home at the Criterion Theatre this latest production of the comic caper takes up residence at The Trafalgar Theatre.

Rewatching this theatrical forerunner to many of our current west end stalwarts is a nostalgic look into its theatrical ingenuity. Such currently beloved shows, such as The Play That Goes Wrong and Operation Mincemeat can clearly see their influence from this caper.

We follow the stiff-upper-lipped Hannay through an array of madcap spy antics and a world of theatrical buffoonery. 130 characters portrayed by 4 actors (mostly portrayed by the two clowns!) is a whirlwind of multi-rolling and achievement. Tom Byrne as Hanny is perfect casting with a cheeky and yet staid manner which leads to some beautiful physical comedy (shuffling out from an armchair whilst pinned in was a comic highlight for me).

As always though, it’s the two clowns, played by Eugene McCoy & Maddie Rice who steel the show. Their fast past quick changes and plethora of accents and characters make the show. A very particular mention should go to the hilarious portrayal of Mr McCorquodale from Mccoy. Rice also proved herself an amazing talent at comic multi-rolling and would be perfect casting as Montgomery in Operation Mincemeat.

The main issue comes with the pacing of this production. Patrick Barlow himself in the programme is quoted saying ‘My plea to all the people who direct the play is always, “Speed, speed, speed.”’ This current production comes in at 130 minutes (including a 20-minute interval). If we compare that to the 2006 running time of 105 mins (with a 15-minute interval) It’s hard to understand where the extra time has come from. As such, sometimes we get to the joke before it is presented and the frenetic pace is a little slowed.

After a break from the West End, it would have been wonderful to see a chance at a new direction to the play but instead we see the meticulous original direction of Maria Atken copied frame for frame can at points feel stale leaving us in want of a freshness and excitement which could be captured from the marvellous script by Patrick Barlow.

As always, the set & costume (Peter McKintosh), sound (Mic Pool) & Lighting (Ian Scott) all help perfectly facilitate numerous locations, antics and set pieces with what looks deceptively simple but is in fact crafted to a tee. There did seem to be a few lighting issues on the night I did watch, but they did not detract in whole from the production.

The proof is always in the pudding, and looking around there were audience members of every age, from young children through to pensioners and all found something to laugh at and enjoy. For a comic family night out at the theatre this is a sure bet!

Hitchcock fans too will rejoice in the clever interweaving of multiple film references from his back catalogue and the embracing of theatricality including; shadow work, multi-rolling, buffoonery and toying with our willing suspension of disbelief will leave the regular theatre goer amused and impressed.

This production offers nothing new, and yet it is still a delight to have the old friend back where she belongs. For a giggle, an adventure, a love story and an all-round good evening out it’s most definitely worth a ticket! The play itself proves itself king.

⭐️⭐️⭐️⭐