After charming over three million fans in 39 countries, The 39 Steps lands in Brisbane for its final leg of the 2025 Australian tour. Sydney and Melbourne have had their fun; now it’s Brisbane’s turn to join the chase.
Based on Alfred Hitchcock’s 1935 film, itself adapted from John Buchan’s 1915 adventure novel, The 39 Steps is a madcap mix of espionage, chase scenes, and cheeky humour.
I’ll admit, I wasn’t familiar with the story, but on the wise advice of my Sydney counterpart, I watched the film beforehand. (It can be streamed for free on YouTube.) It was a smart move. That little bit of homework made it much easier to keep up with the fast and funny twists on stage.
Originally devised by Simon Corble and Nobby Dimon in 1996, and adapted by Patrick Barlow in 2005, The 39 Steps became a runaway hit, scooping an Olivier Award for Best Comedy, a Helpmann Award for Best Play, and even a Tony nomination. Not bad for a story that began as a serious spy thriller.
This Australian production, directed by Damien Ryan and produced by Neil Gooding and Alex Woodward, assembles a stellar cast of four, famously playing 130 characters.
Ian Stenlake and Lisa McCune lead the charge, brilliantly supported by comedy powerhouses The Umbilical Brothers (David Collins and Shane Dundas), who bring their trademark physicality and precision timing to the chaos. (If anyone else raised a Gen Z child, you may remember these guys from the highly memorable but short lived, The Upside Down Show.)
The story follows “everyman” Richard Hannay (Stenlake, in the show’s only single-role performance), who becomes entangled in the murder of spy Annabella Schmidt (McCune) after a chance meeting at the theatre.
On the run across the Scottish moors, Hannay encounters foreign spymaster Professor Jordan, and a parade of quirky characters, all played to hilarious effect by The Umbilical Brothers.
After a daring escape and a few close shaves, Hannay returns to London, where, with the help of a stranger, he finally exposes the secret of The 39 Steps, with one last wink to the audience, of course.
Director Damien Ryan keeps things brisk and bold, delivering a tight production that never loses the dramatic thread. The two-hour, two-act play rockets along. Even knowing the plot, I still found myself on the edge of my seat.
This production is a stylish, physical sensation, part Three Stooges, part Monty Python. It’s important to know this going in, as farce and slapstick aren’t for everyone. The point here is to revel in the absurdity, not to chase realism.
The biggest laugh of opening night wasn’t even scripted. A quick-change costume mishap turned into a brilliantly improvised moment, with The Umbilical Brothers seizing the chaos and spinning it into comedy gold.
As Hannay, Ian Stenlake is suave, self-serious and just a little bit ridiculous. Amid all the madness, he grounds the story with just the right touch of “normal.” His performance leans into the caricature of the old-school movie hero, and it works.
In a trio of roles, Lisa McCune jumps from doomed femme fatale to no-nonsense train passenger to quirky farmer’s wife. Recurring as Pamela, the central female role, McCune deftly charts a journey from random stranger to partner in crime.
The Umbilical Brothers deliver superb slapstick and clowning, slipping between characters with the help of quick costumes, elastic physicality, and remarkable vocal range and control. Their mastery of movement and timing brings an anarchic energy that keeps the show charging forward.
They both shine brightest in drag: Collins is hilariously unhinged as the eccentric wife of Professor Jordan, while Dundas brings an earnestness to one half of the elderly hotel proprietors.
A true testament to their comic prowess came when McCune, despite countless performances together, visibly broke character mid-scene in the hotel. She was doing her best to cover her laughter, but was clearly caught off guard by the duo’s inspired chaos.
James Browne’s set and costume design drops us squarely into a world that blends film noir with graphic novel aesthetics. Dominated by grayscale tones and dynamic moving parts, the set creates a series of cinematic frames that echo Hitchcock’s own visual language. The result is a constantly shifting stage that mirrors the pace and tension of the plot.
The visual storytelling is further enhanced by Matthew Marshall’s lighting and AV projections, and Brady Watkins’ smart sound design. Together, they create seamless transitions and heightened moments of suspense.
The opening night crowd was totally on board, laughing, gasping, and applauding with genuine delight.
In a world overloaded with gritty reboots and dark drama, The 39 Steps is a refreshing reminder that theatre can be light, silly, and still technically brilliant. If you’re after a good time and a lot of laughs, don’t miss it, Brisbane. You’re in for a treat.
The 39 Steps runs to 19 October in Brisbane at the Playhouse, QPAC.
Tickets: https://www.the39steps.com.au/#book-tickets
Website: https://www.the39steps.com.au/
Socials: https://www.instagram.com/the39stepsplay/
Photo credits: Cameron Grant
