REVIEW: The 39 Steps at The Sydney Opera House
- Victoria Luxton (she/her)
- 6 days ago
- 2 min read
Updated: 5 days ago
As a first-time reviewer at the Sydney Opera House, I attended the Drama Theatre with anticipation, eager to see how The 39 Steps would translate from page and screen to stage. From the opening scene, the production demonstrates a masterful blend of suspense, comedy, and inventive theatrical craft. Alfred Hitchcock’s original spy thriller is given a Monty Python-inspired twist, creating a performance that is both engaging and fast-paced. In just over 100 minutes, four actors bring to life more than 130 characters, moving seamlessly from scene to scene with remarkable energy and precision.
Ian Stenlake, in the role of Richard Hannay, provides a composed and confident anchor amidst the chaos, delivering the character with both wit and credibility. Lisa McCune, an accomplished Australian actor and multiple Logie Award winner known for her work in Blue Heelers and on stage, displays impressive versatility in her multiple roles. Her portrayals of the espionage agent and the spirited Highland lass are both distinct and nuanced, reflecting her extensive experience and stage presence. The comic dexterity of David Collins and Shane Dundas, who cover a wide array of characters, adds further vitality to the performance, demonstrating exceptional timing and physicality.
The production’s direction and staging are particularly noteworthy. Shadow-play, inventive props, and carefully choreographed physical comedy evoke the cinematic style of Hitchcock while maintaining clarity and flow. The set & costume design (James Browne) are both imaginative and functional, supporting the rapid pace of the show and enhancing its visual storytelling. Lighting and sound are similarly effective, contributing to the creation of a cohesive and immersive theatrical environment. A few moments, such as the handcuff-and-bed gag or the train seat-swapping, occasionally feel extended, and the pacing after the interval slightly lessens the momentum, but these are minor considerations in an otherwise highly disciplined production.
What distinguishes this staging of The 39 Steps is its combination of technical precision, inventive storytelling, and strong ensemble performance. The production demonstrates how far theatrical creativity can stretch within the framework of a structured narrative, balancing humour with narrative clarity and audience engagement.
Overall, The 39 Steps is a compelling and well-executed production. Experiencing it at the Opera House for the first time was particularly memorable, highlighting the venue’s capacity to showcase innovative and professional theatre. The production offers a sophisticated mix of comedy, suspense, and theatrical ingenuity, and it will appeal to audiences who appreciate clever, high-quality ensemble theatre.
