Alfred Hitchcock's THE 39 STEPS

Arizona Theatre Company

Play Guide
Play Guide 1
 Alfred Hitchcock's THE 39 STEPS

TABLE OF CONTENTS
3 WHO WE ARE 19 COMMEDIA DELL’ARTE AND LAZZI
4 INTRODUCTION TO THE PLAY 21 PASTICHE
21 DISCUSSION QUESTIONS AND ACTIVITIES
CONTENTS

4 SYNOPSIS
5 THE CHARACTERS
6 JOHN BUCHAN
7 ALFRED HITCHCOCK
8 HOW ALFRED HITCHCOCK'S THE 39 STEPS CAME TO BE
10 RICHARD HANNAY – THE JAMES BOND OF HIS DAY
11 LOCATION, LOCATION, LOCATION
12 BRITAIN IN 1935
13 BRITISH DIALECTS
15 HISTORY OF FARCE
It is Arizona Theatre Company’s goal to share the enriching experience of live theatre. This play guide is
intended to help you prepare for your visit to Arizona Theatre Company. Should you have comments or
suggestions regarding the play guide, or if you need more information about scheduling trips to see an ATC
production, please feel free to contact us:
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Associate Education Manager Education Manager
(520) 884-8210 ext 8506 (602) 256-6899 ext 6503
(520) 628-9129 fax (602) 256-7399 fax
Alfred Hitchcock's THE 39 STEPS Play Guide compiled and written by Jennifer Bazzell, Literary Manager
and Katherine Monberg, Artistic Intern. Discussion questions and activities prepared by April Jackson,
Associate Education Manager and Amber Tibbitts, Education Manager. Layout by Gabriel Armijo.

Support for ATC’s Education and Community Programming has been provided by:
Organizations Mrs. Laura Grafman Ms. Norma Martens
APS Individuals Kristie Graham Hamilton McRae
Arizona Commission on the Arts Ms. Jessica L. Andrews and Mr. and Mrs. Paul Green Ms. Rita A. Meiser
Bank of America Foundation Mr. Timothy W. Toothman Mr. Greg B. Hales Ms. Thelma Miller
City Of Glendale Ms. Beth A. Bank Mr. David Hansen Ms. JeanMarie Moore
SPONSORS

Community Foundation for Mr. and Mrs. Franklin L. Bennett Mr. Terrence M. Hanson Mr. and Mrs. Fred A. Nachman III
Southern Arizona Mr. Brain Blaney Ms. Athia L. Hardt Thomas C. Patterson
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The William L. and Ruth T. Pendleton Mr. and Mrs. David Ira Goldstein Mr. and Mrs. James Lovelace Quinn Williams
Memorial Fund Ms. Linda Goode Ina Manaster Leslie Woodruff
Tucson Medical Center
Tucson Pima Arts Council

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 Alfred Hitchcock's THE 39 STEPS

ARIZONA THEATRE COMPANY: WHO WE ARE

Thousands of people make our work at ATC possible!
WHO WE ARE

Arizona Theatre Company is a professional, not-for-profit theatre company.

This means all of our artists, administrators and production staff are paid
professionals, and the income we receive from ticket sales and contributions
goes right back into our budget to create our work, rather than to any particular
person as a profit.

Each season, ATC employs hundreds of actors,

directors and designers from all over the country
to create the work you see on stage. In addition,
ATC currently employs about 100 staff members
in our production shops and administrative offices
in Tucson and Phoenix during our season. Among
these people are carpenters, painters, marketing
professionals, fundraisers, stage directors, computer
specialists, sound and light board operators, tailors,
costume designers, box office agents, stage crew
-the list is endless- representing an amazing range
of talents and skills.

We are also supported by a Board of Trustees, a

group of business and community leaders who
volunteer their time and expertise to assist the
theatre in financial and legal matters, advise in
Herberger Theatre in Phoenix, Arizona marketing and fundraising, and help represent
the theatre in our community.

Roughly 150,000 people attend our

shows every year, and several thousands
of those people support us with charitable
contributions in addition to purchasing
their tickets. Businesses large and small,
private foundations and the city and
state governments also support our
work financially.

All of this is in support of our mission: to

create professional theatre that continually
strives to reach new levels of artistic Temple of Music and Art in Tucson, Arizona
excellence and that resonates locally, in the state of Arizona and throughout the
nation. In order to fulfill its mission, the theatre produces a broad repertoire ranging
from classics to new works, engages artists of the highest caliber, and is committed to
assuring access to the broadest spectrum of citizens.
Arizona Theatre Company Play Guide 3
 Alfred Hitchcock's THE 39 STEPS

Alfred Hitchcock’s THE 39 STEPS

Adapted by Patrick Barlow
From the novel by John Buchan
From the movie by Alfred Hitchcock
Directed by Joel Sass
INTRO

INTRODUCTION TO THE PLAY

Mix a Hitchcock masterpiece with a juicy spy
novel, add a dash of Monty Python and you have
… Alfred Hitchcock’s THE 39 STEPS. A mind-
blowing cast of four actors play over 150 characters
in this fast-paced tale of an ordinary man on an
extraordinarily entertaining adventure. The madness
begins when mild-mannered Richard Hannay starts
his evening at the theatre and ends the night with a
dead body in his lap. Caught in a maze of murder,
espionage and flirtatious entanglements, our hero
careens from the British music hall to the moors
of Scotland and back to the London Palladium in
search of a plausible alibi and the true identity of Robert O. Berdahl, Luverne Seifert, Jim Lichtscheidl
the killer. Broadway’s most intriguing, most riotous, and Sarah Agnew in Alfred Hitchcock’s THE 39
most unmissable Tony-winning comedy smash STEPS. Credit Michal Daniel.
proves that anything the movies can do, the theatre
can do more hilariously!

SYNOPSIS
SYNOPSIS

Richard Hannay is at a London theatre,

attending a demonstration of the remarkable
powers of “Mr. Memory,” a man with a
photographic memory, when a fight breaks out
and a shot is fired. In the ensuing panic, he
finds himself holding a frightened Annabella
Schmidt, who talks him into taking her back
to his flat. There, she tells him that she is a spy,
being chased by assassins, she claims to have
uncovered a plot to steal vital British military
secrets, implemented by a man who is the
Actors Sarah Agnew and Luverne Seifer head of an espionage organization called
in Alfred Hitchcock’s THE 39 STEPS. Credit “The 39 Steps.”
Michal Daniel.

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 Alfred Hitchcock's THE 39 STEPS

The next day, Hannay wakes up to find her dead, stabbed with a knife. He sneaks out of
the flat disguised as a milkman and takes a train to Scotland, where she has told him she
was going to find the leader of the espionage group. On the train, he discovers that he is
suspected in the murder of Annabella. He sees the police on his trail and in desperation he
enters the nearest compartment; in an attempt to escape detection, he passionately kisses
the sole occupant, the attractive Pamela. She however manages to free herself from his
unwanted embrace and betrays him to the law. He jumps from the train and escapes.

He stays the night with a poor older farmer and his young wife who sees in Hannay the
dashing, romantic man she longs for. The next morning, he leaves in the farmer’s Sunday
coat, and calls at the house of which Annabella told him. There he finds the man with part
of his finger missing, the seemingly respectable Professor Jordan, who shoots Hannay and
mistakenly leaves him for dead.

The fun continues as this frenetic farce careens from place to place and muddle to mess.
The conclusion combines mishaps, mistaken identities, and tongue-in-cheek references to
everything we like about murder mysteries and film noir detective movies.
-reprinted with permission from Utah Shakespearean Festival’s study guide for Alfred Hitchcock’s THE 39 STEPS

THE CHARACTERS
Richard Hannay: The
CHARACTERS

leading man and investigator

into the dastardly
organization known as THE
39 STEPS.

Annabella/Margaret/
Pamela: All the major
female characters in the play
(played by one actress).

The Clowns: Two actors

who play, say, about 150
characters.

Actor Robert O. Berdahl who plays Actor Sarah Agnew who plays the
Richard Hannay in ATC’s production major female roles in ATC’s production

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 Alfred Hitchcock's THE 39 STEPS

JOHN BUCHAN
BUCHAN

John Buchan was born in Perth, Scotland in August, 1875, the

eldest son of John Buchan, a Calvinist Presbyterian minister, and
Helen Masterson Buchan. Much of his future writing involved
memories of what was a rather idyllic childhood: summers spent
with his grandparents exploring their sheep farm, fairytales
told by his father, and the creative encouragement of his uncle
Willie. His early life was marred only by a carriage accident at
the age of five that left permanent scars on his face. Buchan
attended grammar school beginning in 1888 before receiving a
scholarship to Glasgow University, where he began his writing
career and helped finance his tuition by writing essays for the
Glasgow University Magazine.

In 1895, Buchan travelled to England to study law at Brasenose

College, Oxford University. He moved to London in 1900 to
apprentice at law firms in the midst of the Boer War, deciding
The Thirty-Nine Steps author
not to volunteer for military service. In 1902, at the end of John Buchan in 1936
the war, he accepted a position in South Africa as secretary to
Lord Milner. There he wrote The African Colony in 1903 before returning to London and
partnering with publisher Thomas Nelson. He married Susan Grosvenor in 1907, and their
daughter Alice was born the next year. 1911 saw both the birth of their son, John Norman
Stuart, and the first pains of Buchan’s duodenal illness that would affect him for the rest of
his life. While intermittently ill, Buchan began to become involved in politics and wrote a
number of biographies during this period of his life, which proved to be a painful one. His
brother, Willie, passed away in 1912 followed closely by a
number of his friends and his brother Alistair when World
War I broke out in 1914.

In 1915, Buchan became a war correspondent for The

Times, and wrote Britain’s War by Land and his most
famous thriller, The Thirty-Nine Steps. He followed these
works in 1916 with Greenmantle and The Purpose of War,
and had two more sons, William in 1916 and Alistair in
1918. He became an officer for The Intelligence Corps
in France until 1917, when he returned home for an
operation from which he recovered for the next few years
while continuing his political and literary endeavors. He
was elected to Parliament in 1927, and was appointed

John Buchan as Governor-

General of Canada

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 Alfred Hitchcock's THE 39 STEPS

His Majesty’s High Commissioner to the General Assembly of the Church of Scotland in
1933. In 1935, he was named First Baron Tweedsmuir of Enfield and appointed Governor-
General of Canada, where he was well received by the populace.

In 1936, urged by his wife, who also authored several books, he created what would be
the primary literary awards of Canada for many years, the Governor General’s Awards. On
September 9, 1939, he officially signed Canada’s Declaration of War to enter World War
II. In February of 1940, he fainted while shaving and suffered severe brain injuries. After
three operations, he passed away at the Montreal Neurological Institute on February 11,
1940 at the age of 64. He was memorialized in both Canada and England, a much-loved
political and literary figure on both sides of the Atlantic.
-written by Katherine Monberg, Artistic Intern

ALFRED HITCHCOCK
Alfred Joseph Hitchcock was born on August 13, 1899,
HITCHCOCK

in Leytonstone, London, England, the third of three

children to East End poulterer and greengrocer William
Hitchcock and his wife Emma Jane Hitchcock. He was
raised in a strict Roman Catholic family, and attended
St. Ignatius College, London, and the University of
London where he studied electrical engineering.
Hitchcock’s first foray into film began in 1915 as a title
card designer for silent films for Paramount’s Famous
Players-Lasky Studio in London. While working there,
his first directing opportunity came in 1923 when
the director for the film Always Tell Your Wife fell ill,
and Hitchcock jumped at the chance to complete the
film. Impressed by his work, over the next few years
the studio promoted Hitchcock to scenario writer, art
director, and assistant director, which led to his official
directorial debut with Gainsborough Film Studio’s
The Pleasure Garden in 1925. Some of his early work
includes The Lodger (1925) and Blackmail (1930), Alfred Hitchcock
Britain’s first popular non-silent film.

The 1930s brought Hitchcock international attention with such well-known thrillers as The
Man Who Knew Too Much (1934), The 39 Steps (1935), and The Lady Vanishes (1938).
In 1939, on the eve of World War II in Europe, Hitchcock moved with his wife, Alma,
and their daughter, Patricia, to Hollywood, California. His American debut came with
the film Rebecca (1940) starring Laurence Olivier and Joan Fontaine, winning Hitchcock
an Academy Award for Best Picture. He followed his immediate American success with
such acclaimed films as Dial M for Murder (1954), Rear Window (1954), Vertigo (1958),
North by Northwest (1959), and Psycho (1960). In 1955, he launched the television show
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 Alfred Hitchcock's THE 39 STEPS

Alfred Hitchcock Presents, catapulting him to iconic celebrity status. In 1979, Hitchcock
was recognized by the American Film Institute with a Lifetime Achievement Award, and
was knighted by Queen Elizabeth II in 1980. Later that year, he passed away from renal
failure in his sleep on April 28, 1980, leaving behind a vast filmography as one of the most
influential film artists of the 20th century.

In a career spanning more than 50 years, Hitchcock created films that explored the
complexity of human psychology, evoking menace and fear to develop the genre of the
psychological thriller that he pioneered. His technical innovation was one of his greatest
skills, demonstrating a mastery of sound and score, creative camera viewpoints, and
ground-breaking editing techniques to heighten suspense and unsettle the audience. His
plots are often based on similar themes, the most common being the wrongly accused
innocent man forced to apprehend the criminal in order to clear his own name, the guilty
woman who involves a male protagonist, or the psychopathic killer whose identity is
revealed over the course of the film. His films usually involve murder or espionage, and
frequently include mistaken identities, deceptions, and lively chase sequences to enhance
the movie-going experience. He was particularly known for his meticulous planning and
detailed storyboarding from which he would rarely deviate, and a reputed dislike of actors
though he worked with some of the best talent of his day, their fame and his characteristic
aesthetic created the lasting legacy of the unparalleled “Master of Suspense.”
-written by Katherine Monberg, Artistic Intern

HOW Alfred Hitchcock's

THE 39 STEPS CAME TO BE
THE 39 STEPS that finds its way to the ATC stage has a long
and adaptive history behind it. The story was first conceived in
novel form by Scottish author John Buchan. It was published
in its entirety in October, 1915, after being presented serially
in magazine form earlier that year (it has never been out of
print since its original publication). It is the first of five Richard
Hannay novels written by Buchan published over the next twenty
years. The original novel was first adapted for film in 1935 by
Alfred Hitchcock, starring Robert Donat and Madeleine Carroll,
and is largely regarded as one of Hitchcock’s best “man on the
run” films, as well as the best film version of the text created
to date. Director Ralph Thomas undertook another film version
of The 39 Steps in 1959, basing his work on the Hitchcock
adaptation, which had several significant deviations from the
novel. Then followed a 1979 film version directed by Don Sharp Actor Jim Lichtscheidl
that returned to a closer representation of the novel – though still who plays one of the clowns in
deviating significantly – and featuring the well-known image of Alfred Hitchcock’s THE 39 STEPS

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 Alfred Hitchcock's THE 39 STEPS

“One of the th
rilling things ab
entire movie out writing th
on stage – com is was the chal
murders, beau plete with trai lenge of puttin
tiful spies, tril n ch ases, plane cr g an
missing, not to bied heavies, ashes, shadow
mention som dastardly villai y
ADAPTATIONS

cinema. There e of the most ns with little fi

is much oppo ic onic moments n g e rs
love story. A m rtunity for com in the history
an and woman edy and satire of
– through all th who have neve here. But it’s al
e daredevil fe r loved anyon so a
own true hear ats and derrin e, yet miraculo
ts. That there’s g -d o – discover th u sl y
a reason – as a reason to live e beating of th
our hero (fire and a reason eir
is yet) blissfull d up by love th to love. And ab
y realizes in h ro ugh he doesn o ve all
after each oth is passionately ’t know that’s
er and look af impromptu p what it
ter the world.” olitical speech
– Patrick Barlo – to look
w

Hannay clinging to the hands of Big Ben at the film’s

climax. In 1995, Nobby Dimon and Simon Corble
of Midsommer Actors’ Company in England created
a theatrical version of The 39 Steps, combining
elements from Buchan’s novel and Hitchcock’s film
with one notable difference: the entire performance
would consist of just four actors playing all of the
many roles in the text.

The comic theatrical adaptation that has swept

through the American theatre scene was adapted
from Dimon and Corble’s version by Patrick Barlow,
the well-known co-founder of National Theatre of Actors Jim Lichtscheidl and Robert O. Berdahl
Brent (NTB), a British comedy act of a mock two- in Alfred Hitchcock’s THE 39 STEPS.
man theatre troupe. Patrick Barlow approached his Credit Michal Daniel.
adaptation of the piece with the idea that he would use the movie as inspiration while also
making use of the book, but that he would change either when necessary to make the play
work. The play is pastiche, which is defined by Webster’s as “literary, artistic, musical, or
architectural work that imitates the style of previous work.” Barlow throws in allusions to
other works of art, particularly other Hitchcock films. The comedy also comes from the
fact that while one actor plays leading man Richard Hannay for the entirety of the script,
one woman plays all of the female characters and two other actors (called Clown 1 and
Clown 2) play over 150 other roles. Add to that the story calls for chase scenes, a jump
from a moving train along with the requisite quick changes of costume necessary to pull
the whole thing off, and you have a play that delights audiences due to the fact that the

What is satire
? Merriam-We
holding up hu bster Dictionar
man vices and y defines satire
irony, or sarcas follies to ridic as: “A literary
m used to exp ule or scorn” work
ose and discr and/or “a tren
edit vice or fo ch ant wit,
lly.”

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 Alfred Hitchcock's THE 39 STEPS

artists involved have to think outside the box to

make the whole thing work.

Barlow’s adaptation premiered in England in

2005 and transferred to West End’s Tricycle
Theatre the following year. The show made
its Broadway debut in 2008, garnering six
Tony Award nominations, winning two – Best
Lighting Design and Best Sound Design, as well
as a Drama Desk Award for Unique Theatrical
Actor Luverne Seifer who plays one of the Experience – before it closed in 2010. The
clowns in Alfred Hitchcock’s The 39 Steps. appeal of the play lies with the heart of the
story being intriguing, fun and fast-paced along
with Barlow’s clever way of achieving both the
cinematic necessities on stage, and staying true
to characters and their desires.
-written by Jenny Bazzell, Literary Maneger
and Katherine Monberg, Artstic Intern

RICHARD HANNAY – THE JAMES BOND

OF HIS DAY
Richard Hannay was one of the first modern spy-thriller heroes and, as such, has heavily
influenced the genre. Today, considered in the light of mainstream espionage fiction,
Hannay appears to be badly clichéd—although one could point out that this is not his
fault as he was created well before his attributes became clichéd.

In terms of personality, for example, Hannay seems to be a stereotypical "strong, silent"

Briton, combining the stereotype of the dour Scotsman with the "stiff upper lip" of an
Englishman, along with a tough physique and a shrewd (although not brilliant) brain. He
is daring and resourceful, too. In terms of plot, he is often forced to conduct his activities
in breach of the law, causing him to be hunted by the police as well as the enemy. He
falls in love with a beautiful (blonde) spy on his own side, which proves to be an awkward
complication, and is often called upon to thwart the enemy in some evil plan certain to
ruin Britain's war effort.

However, Hannay also displays some characteristics that sharply distinguish him from
both later characters in adventure tales and the fiction writers that sought to imitate him.
He narrates the stories and shows a much wider range of emotion than is usually expected
from this kind of thriller hero. Nowhere near as hard-boiled as the detective of American

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 Alfred Hitchcock's THE 39 STEPS

noir fiction, Hannay is dependent upon his friends and appears to be a religious man; like
his author, he is Presbyterian.

He is also increasingly shown to be something of a philosopher; he does not dehumanize

his enemy, and despite sharing some of the racial prejudices of his day, is open-minded
towards Germans, pacifists, and similar demonized groups of the time. Most remarkably
in contrast to more recent thriller heroes, however, Hannay finds it difficult to talk to
women, suffering from months of nerves before declaring his love for Mary. Until she
appears, he has no love interest (indeed, the first two books are tautly constructed, and in
no way suffer from an absence of romance), and when puzzling over his love for Mary,
he remarks: "You can't live my kind of life for forty years, wholly among men, and be any
good at pretty speeches to women." Being ignorant of women, however, does not make
him immature: he is in fact a sagacious and able judge of men, and unusually wise.
-www.wikipedia.com

LOCATION, LOCATION, LOCATION

LOCATION

The hero of The 39 Steps, Richard Hannay, starts his

adventure in London, the capital of both England
and the United Kingdom. London is broken up into
many districts and neighborhoods, each one with its
own distinct culture, architecture, and industry. The
theatre district, where Hannay lives, is called the
West End, similar to Broadway in New York, and is
in the wealthy Leicester (Less-ter) Square area. This
fashionable neighborhood is on the north bank of
the Thames (Temms) River, and is home to many of
London’s wealthiest citizens. After a long train ride,
Hannay arrives in Alt-na-Shellach (Shell-ahck) in
Guildford, Scotland. This small town is a few miles A modern photo of Leicester Square
north of Perth, in the beautiful Perthshire county in
central Scotland.

The British Empire

In the decades before WWII (1938-1945) the phrase “the sun never sets on the British
Empire” was literally true. Canada, India, Australia, and parts of Africa and Latin America
were under British rule. That meant that somewhere in the world, no matter what time it
was in Britain, the sun was shining on a part of the British Empire. This was a time of great
wealth and prosperity for the British people, and many of the people in their protectorates,
colonies, and allied states immigrated to the island in the first half of the 20th century. It
is partially because of these immigrants from all over the world that Britain has the diverse
and vibrant culture it has today.

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 Alfred Hitchcock's THE 39 STEPS

THE 39 STEPS takes place across England. However,

England is just one of the many names for the region of
Europe where Hannay goes on his adventure.

For example:
• England is a country located in the southeast of Britain.
• Britain is the entire island (not including Ireland).
• Great Britain is the political entity made up of England,
Wales, and Scotland
• The United Kingdom (or the U.K.) is England, Northern
Ireland, Scotland, and Wales.

Reproduced with permission from TheatreWorks Silicon Valley

BRITAIN IN 1935
1935

Alfred Hitchcock’s THE 39 STEPS takes place in 1935. Just what was happening in the
United Kingdom that year?

February 26 ....... In Daventry, Robert Watson-Watt first

demonstrates the use of radar.
March 12 ............ Speed limit in built-up areas reduced to 30
m.p.h.
May 6 .................... Silver Jubilee celebrations for King George V.
May 31 ............... The driving test becomes compulsory.
June 7 ................. Ramsay MacDonald retires; Stanley Baldwin
takes over as Prime Minister.
June 18 ................. Anglo-German Naval Agreement: Britain
agrees to a German navy equal to 35% of her
own naval tonnage.
June ................... Alfred Hitchcock's film The 39 Steps released King George V
in the U.K.
July 12 ................. Rioting breaks out in Belfast following Orange parades; by the end of
August, eight Protestants and five Catholics have been killed, hundreds
injured and over 2,000 homes destroyed (almost all Catholic).
July 30................... Allen Lane founds Penguin Books to publish the first mass market
paperbacks in Britain.

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 Alfred Hitchcock's THE 39 STEPS

September 12 ..... An underground explosion at North

Gawber (Lidgett) colliery, Barnsley,
1935

South Yorkshire, kills nineteen.

October.............. First steel produced from new works at
Corby.
October 8 .......... Clement Attlee is appointed as interim
leader of the Labour Party in succession
to George Lansbury.
November 4 ...... Opening of Hornsey Town Hall,
London, designed by Reginald Uren, A modern photo of Hornsey Town Hall
the first major U.K. building in the
International style.
November 6 ...... Maiden flight of the Royal Air Force’s
Hawker Hurricane fighter aircraft.
November 14...... In the General Election, Prime Minister
Stanley Baldwin is returned to office at
the head of a National Government led
by the Conservative Party with a large
but reduced majority.
November 26...... –In the Labour Party leadership
election, Clement Attlee is confirmed
as leader.
– Release of Scrooge, the first all-
talking full-length film version of A World War II era Royal Air Force
Charles Dickens' A Christmas Carol, Hawker Hurricane
with Sir Seymour Hicks in the title role.
December 10 ...... James Chadwick wins the Nobel Prize
in Physics for the discovery of the
neutron.
-modified from www.wikipedia.com

BRITISH DIALECTS
Accents play a large role in THE 39 STEPS – it is one of the ways the two Clowns
distinguish one person from another as they switch rapidly between two or more
characters simultaneously. Although the U.S. and the U.K. share the same language,
it is not always easy for one side to know what the other is saying. Some words are
pronounced differently and others have come to mean different things over time. Below
are some words that are pronounced differently or have a different meaning depending on
where you live.

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 Alfred Hitchcock's THE 39 STEPS

American British

apartment flat
DIALECT

beach seaside
bill (money) banknote
candy sweets
chips crisps
cookie biscuit
cord (electrical) flex
counterclockwise anticlockwise
dessert pudding
drugstore chemist’s “A-loo-min-um” or” al-u-min-ee-um”
elevator lift foil. You decide.
first floor ground floor American British
french fries chips aluminum: a-loo-min-um al-u-min-ee-m
garters suspenders apricot: ah-pricot ay-pri-cot
gasoline petrol charade: char-ay-d char-ah-d
intermission interval cordial: corjul cordee-al
package parcel filet: filay fill-it
perfume scent herb: ‘erb herb
radio wireless medicine: med-i-sin med-sin
realtor estate agent missile: miss-ul miss-aisle
restroom lavatory or loo leisure: leezhure lezhure
stroller pram privacy: pry-vacy pri-vacy
subway underground schedule: skedule shed-ule
suspenders braces semi: sem-eye sem-ee
sweater jumper strychnine: strick-9 strich-neen
trunk boot tomato: tom-ay-do tom-ah-to
undershirt vest - Reproduced with permission from TheatreWorks Silicon Valley
vacation holiday
vest waistcoat
wrench spanner
yard garden

“Dessert” or “Pudding.” Whatever US: Vest. UK: Waistcoat.

you call it, it’s delicious.

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WHAT IS FARCE?
FARCE

“I have not ye
t seen any defi
to define it. I nition of Farce
know not what , and dare not
contemptible Fate it happen be the first th
sort of Drama. ed (in commo at ventures
” – Nahum Ta n Notion) to b
te, Poet Laure e the
ate of England
, 1693

“Although perpetually scorned by those who would confine

our vision to loftier things, traditional farce has maintained
its popularity by unashamedly exploiting our most basic and
primitive emotions. It is not afraid to use simple and universal
images to reach us at this most elemental of levels, where
our responses are strong, automatic, and virtually instinctive.
Pratfalls and sudden blows, frantic chases, and lost trousers are
all images to which we react almost without the intervention
of thought. They are humiliation. Farce is not limited to such
things, but because it is alone in its acceptance of them, they
have become its most distinctive and obvious feature. They
are basic to farce not because farce is crude and physical, but
because it is shameless. It freely accepts all that we dislike,
fear, and censor in ourselves. It includes our elementary
responses to violence and sex, our basic bodily needs and
functions, although it is capable of going well beyond them.
It permits us to look at aspects of our lives that we cannot A modern bust showing Aristophanes
yet bear to view both seriously and honestly. It allows us to and Menander, masters of the old
and new comedies, respectively.
acknowledge the baser side of ourselves, our laws, and our
institutions, and lets us admit how much lower than the angels
we really are.”
- From Manuel A. Esteban’s Georges Feydeau.

The History of Farce

Ancient Greece and Rome

Farce is typically traced back to Ancient Greek and Roman playwrights such
Aristophanes, Plautus, Terence and Menander. Elements of farce such as stock characters
with exaggerated behaviors as well as implausible situations often came together in
comedic plays of the Greek and Roman era. Much Greek and Roman farce were often
satirical in nature and poked fun at the day-to-day lives and figures that inhabited the
worlds of the playwrights. One of the most famous ancient farces is Lysistrata, but others
include The Birds, The Clouds and The Wasps.

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Medieval Era
FARCE

During the Middle Ages, designated in European history as

the roughly thousand year span from the time of the fall of the
Roman Empire until the Renaissance, drama focused extensively
on religion. The Catholic Church frowned upon all forms of
drama because the official view was that theatre mocked God’s
creations and therefore should not be practiced by Christians.
However, when faced with a largely illiterate population the
church turned to drama including mystery, miracle and passion
plays, which dealt with Biblical stories, saints’ lives and the
crucifixion of Jesus, respectively. The goal of these types of
medieval drama was to teach morality lessons from the Bible to a
population unlearned in Latin, and humor was not the principle
technique employed. Fifteenth century morality plays such as
Everyman taught of the vanity of earthly pursuits compared to
the more important heavenly focus that the Church wanted to
espouse. Particularly in the early Medieval Period, comedy of any
type was discouraged; however, farce did make appearances in
occasional plays such as the oldest surviving French farce titled The first page of a printed edition of
The Boy and the Blind Man (13th century). Later in the era, the Everyman c. 1500
blending of morality plays and farce became more common over
time. Comedic scenes also made their way into serious plays as
“interludes” in church plays. The actual term “farce” was first applied to such scenes which
involved simple, comedic situations and horseplay. Farce also made a re-appearance
in the festivals of the era in what came to be known as The Feast of Fools. This popular
festival included a temporary upending of traditional order in which people selected from
amongst themselves to play the “roles” of high ranking church archbishops, abbots, etc.
and parodied them. The farcical elements caused the festivals to be officially decried by
the Church, but they remained popular throughout Europe for centuries.

Merriam-Web
ster Dictionar
marked by bro y defines farc
adly satirical co e as: “a light d
medy and imp ramatic comp
robable plot” osition
or “a savory st
uffing.”

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Elizabethan Period
FARCE

During the Renaissance, authors, artists, philosophers and politicians were all re-
examining interest in the classical era. During this time frame, theatre re-emerged
as an entertainment separate from the Church (but certainly not outside the realm of
the Church’s disapproval). Plays were increasingly thought of as either comedies or
dramas. During the era, farce was a popular form of comedy; William Shakespeare’s
The Comedy of Errors came from an adaptation of Plautus’s Brothers Manaechmi.
The re-introduction of classical works as adaptations during the era proved what
classical audiences had already known – that the universal human stories told by
the ancient farce writers continued to have appeal to people a thousand years later
who spoke a completely different language. The implausible and funny situations
and characters still humored audiences despite the gaps in location and time period
in which the original basic stories were created.
The 17th Century

Say the word “farce” and many people

immediately think of playwright Jean-Baptiste
Poquelin known by his stage name of Molière.
During the 17th century, this French playwright
mastered and re-imagined the farce in a way
that had not been seen since the classical era.
Moliere’s masterpieces include Le Misanthrope
(The Misanthrope), L'École des femmes (The
School for Wives), Tartuffe ou L'Imposteur,
(Tartuffe or the Hypocrite), L'Avare (The Miser),
Le Malade imaginaire (The Imaginary Invalid)
and Le Bourgeois Gentilhomme (The Bourgeois
Gentleman). His style was to skewer the world
around him through his plays, concentrating on
A 1739 First Edition of Moliere’s figures and archetypes well-known to Parisians
works translated into English. of his day. His focus on creating comedies of
manners and using farce for social critique make
him stand out in the history of theatre. For instance, his play Tartuffe concentrates the
playwright’s satirical powers on religious hypocrites. His plays are still popular today and
oft-performed despite the intervening centuries because his astute eye and sense of humor
translates to modern audiences with little difficulty.

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The 18th Century

During the 18th century, French writer Pierre-Augustin Caron de

FARCE

Beaumarchais continued the development of the French farce

through his plays Le Barbier de Séville, Le Mariage de Figaro, and
La Mère coupable. The plays told of the wild adventures of barber
Figaro. Le Barbier de Séville was first produced in 1775, and its
sequel gained notoriety by being banned by the king from 1781
to 1784 (when King Louis XVI finally gave in). The monarch’s
complaint was the treatment of the aristocracy in the play; however,
when it finally played before an audience (including noblemen)
the play was well-received. The final Figaro play was produced in
1792. The characters in the trilogy are reminiscent of earlier stock
characters and the situations implausible, but like Moliere’s plays,
satiric. An 1879 poster for a production
of The Comedy of Errors

The 19th and Early 20th Centuries

Farce as a genre flourished during the 19th and 20th

centuries. Farcical writers such as Georges Feydeau and W.S.
Gilbert were immensely popular in their respective countries
of France and England. Feydeau is perhaps best remembered
for his classic La Puce à l'oreille (A Flea in Her Ear), but he
wrote numerous beloved and much-adapted farces as well.
W.S. Gilbert (with partner Arthur Sullivan) is responsible
Keystone Kops from 1914 film In for some of the most beloved musical farces of the all time,
the Clutches of the Gang including The Pirates of Penzance, H.M.S. Pinafore, Patience,
and The Mikado but also wrote at least 22 plays. Lesser known to modern audiences, great farce
writer Eugène Marin Labiche wrote such great works as Célimare le bien-aimé (1863), Le Voyage
de M. Perrichon (1860), La Grammaire, Un Pied dans le crime, and La Cagnotte (1864). British
writer Arthur Wing Pinero wrote very popular (though rarely revived today) plays such as The
Schoolmistress (1866), The Magistrate (1885), The Notorious Mrs. Ebbsmith (1895) and Trelawny of
the 'Wells'.
.
By the early 20th century, farce had moved into silent films and then talkies with instances such as
the films of Charlie Chaplin, the Keystone Kops, and later the Marx Brothers and the Three Stooges.

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The Mid 20th Century to the Present

With the explosion of television into households in the 1950s, shows such as I Love
Lucy, The Honeymooners, and The Dick Van Dyke Show kept farce alive with their zany
characters and physical comedy. These situation comedies (or sit-coms for short), moved
farce away from just being a theatrical and film medium. With the advent of improv comedy
shows such as Saturday Night Live, elements of farce continued to be displayed in popular
culture. In today’s world farce still exists in various forms, including new translations and
adaptations of classic farces, but perhaps classic farce’s most apparent descendent is found
on television and in movies. Farcical television shows with stock comedic characters
from the past such as Three’s Company gave way to shows like Roseanne and, in more
modern television, Frasier, Arrested Development and The Big Bang Theory. Through their
exaggerated situations and characters, modern films such as The Hangover and Bridesmaids
trace their roots back all the way to ancient Greece and Rome.

COMMEDIA DELL’ARTE AND LAZZI

The physical comedy in The 39 Steps traces its roots back hundreds of years to Italy in
COMMEDIA

the 1500s and commedia dell’arte. Troupes of travelling performers would typically
move about the Italian countryside, putting on impromptu shows in each town they
visited. These performances employed stock characters and mask work to tell stories.
Throughout these stories, performers would insert a lazzi (pronounced “lat-si”).
According to scholar Luigi Riccobani, lazzi are “the actions of Arlecchino or other
masked characters when they interrupt a scene by their expressions of terror or by their
fooleries” (Histoire Du Theatre Italien). In other words, lazzi are short comedic scenes
that often had no correlation to the original story. For example, a lazzi might be one
of the characters pretending to be a statue, only moving when the other performers on
stage have their backs turned. These short scenes were often performed without words,
the actors using broad, over-exaggerated physicality to convey the story.

Japan develop
ed farce plays
dell’arte. These around the sa
plays are calle me time that It
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plays.

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 Alfred Hitchcock's THE 39 STEPS

This same kind of comedy can be seen in The 39 Steps. The two Clowns, more than 40
roles each throughout the show (often more than one character at a time) use specific,
exaggerated physicality to become each character. The characters they create then
COMMEDIA

interact with each other (and the other two performers) in short scenes. For example, the
clowns play Mr.and Mrs. McGarrigle as well as Heavy 1 and Heavy 2 simultaneously.
These four characters have a scene together, meaning the actors must switch accents,
costumes, ages and even genders between lines. By making these characters larger
than life, these switches are manageable and believable for the audience and add to the
stylized nature of the show.
Examples of stock characters:

• Arlecchino was the most famous. He was an acrobat

and wit, childlike and amorous. He wore a cat-like
mask and motley colored clothes and carried a bat or
wooden sword. His movements are often associated
with a cat or monkey.

• Brighella, Arlecchino’s crony, was more roguish

and sophisticated, a cowardly villain who would
do anything for money. His movements are similar
to a rat.

Arlecchino • Il Capitano (the captain) was a caricature of the Brighella

professional soldier – bold, swaggering, and cowardly.
He is often compared to a peacock.

• Il Dottore (the doctor) was a caricature of learning –

pompous and fraudulent. His movements are often
associated with a pig.

• Pantalone was a caricature of the Venetian merchant,

rich and retired, mean and miserly, with a young wife
II Capitano or an adventurous daughter. His movements are often
associated with a chicken or a crab.
II Dottore
• Pulcinella, as seen in the English Punch and Judy
shows, was a dwarfish humpback with a crooked
nose, the cruel bachelor who chased pretty girls. His
name means “little chicken” and his movements are
often chicken or toad-like.

In commedia dell’arte, female characters didn’t wear

masks, but instead wore colorful, beautiful dresses.
- Reproduced with permission from TheatreWorks Silicon Valley
Pantalone
Pulcinella
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 Alfred Hitchcock's THE 39 STEPS

PASTICHE
PASTICHE

Pastiche is a work of literature, art, music, or architecture

that is a type of homage to a previous work through
stylistic imitation, or a work pieced together from
multiple sources and thus imitative in nature. The
word is Italian in origin, derived from a word meaning
“medley” and is a reference to a type of dessert
comprised of a mixture of items. In the literary sense, it
is a facet of postmodernism that utilizes familiar styles,
concepts and/or characters in new or amusing ways.
Pastiche is closely related to parody, and is particularly
suited for comic irony and satire as demonstrated by
popular modern examples such as The Simpsons, Family
Guy, and the musical parodies of Weird Al Yankovic.
Other contemporary examples include Wicked: The Life
and Times of the Wicked Witch of the West by Gregory
Maguire, The Eyre Affair by Jasper Fforde, and the recent
upsurge in fanfiction, stories written by fans that utilize
characters from popular works of literature such as
Harry Potter and The Twilight Saga. Singer Weird Al Yankovic
-written by Katherine Monberg, Artistic Intern

DISCUSSION QUESTIONS AND ACTIVITIES

Discussion Questions

The 39 Steps has been described as a pastiche, which is a work of drama, literature, art or
music that imitates the work of a previous artist. What previous works is this play satirizing
or imitating? Can you think of modern examples of pastiche in popular entertainment?

Richard Hannay is one of the first heroes of the spy thriller genre, and some have
described him as the “James Bond” of his day. Do you agree with this comparison? What
are some characteristics Hannay exhibits that make him Bond-like? How does he differ
from the typical male action hero?

What was the reasoning behind having about 250 characters or so played by only two
actors? How did this affect the action of the play?

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 Alfred Hitchcock's THE 39 STEPS

What was the secret that Mr. Memory revealed at the end?

The novel was written and set in 1915, but the film and play are set in 1935. Why do you
ACTIVITIES

think this is? Do you think the play/film would have had to change much from the original
novel to be set 20 years later?

Looking at the three main women in the play, what role did they have in moving the story
forward? Did they affect Hannay’s actions? If so, how?

Language Arts Activities

Scottish author Paul Buchan wrote the novel The Thirty-Nine Steps in 1915 while he was
a war correspondent; Alfred Hitchcock’s film adaptation and this play are both set in 1935.
Research some of the plot differences between Buchan’s novel and Hitchcock’s film. Write
an essay that explores how events in Europe between 1915 and 1935 led to the genesis of
the spy thriller genre, and explain why Hitchcock may have chosen to contemporize his
film adaptation of Buchan’s novel.

Write an essay describing how and why Richard Hannay’s attitude and actions evolve
throughout the course of the play.

In comedia dell’arte there are six clown stock characters that are explained in this play
guide. Compare the stock characters to the clown characters that you saw in THE 39
STEPS. How many are represented in this play? Explain, giving examples.

In Film Noir the classic female protagonist was referred to as the “femme fatale”. Research
this archetype. How do the female characters from THE 39 STEPS adhere to or differ from
the classic femme fatale archetype? Discuss, using examples.

Alfred Hitchcock was described as the “master of suspense”. Write a brief essay on
Hitchcock’s style and technique and how he impacted the genre of psychological thriller.

Theatre Arts Activities

In a short essay, identify and describe the various theatrical conventions used to convey
setting in this play. Is the play presentational or representational? What role does the
audience have in creating the world of the play?

Physical comedy can be important to a piece of farcical theatre. The two Clowns in THE
39 STEPS play dozens of characters, sometimes in the same scene. Make a list of five of
the characters played by one of those actors. Identify some of the physical characteristics
or behaviors the actor used to create each of those characters. As part of a character walk
exercise, walk around the room for a minute as one of the characters. See how quickly
you can switch from one character’s walk to the next by making changes in your body
language, posture, speed, and physicality.

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Farce is described as permitting us “to look at aspects of our lives that we cannot yet bear
to view both seriously and honestly.” Research the techniques of farce, then think back to
ACTIVITIES

a moment in your life that may not have been amusing at the time, but that you can now
laugh about. Recreate this moment in a farcical short scene.

In film, storyboarding is used to provide a visual layout of events as they are to be seen
through the camera lens. Think through THE 39 STEPS, and decide on ten integral
moments of the play that were essential to plot development. Draw storyboards for
those moments to create a visual overview of the play. Now re-create each one of these
moments in a series of tableaux, or frozen images that you create with your bodies instead
of paper and pen.

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