Tom Byrne talks ‘The 39 Steps’: “I think Hitchock may be horrified if he saw it!”

The critically acclaimed Hitchcock parody returns to the West End for the first time ever since its original 10-year run, as it concludes its national tour through this last stop playing until the end of the month. Guillermo Nazara chats with its lead actor, to learn the most interesting facts about a show that would probably make the Master of Suspense crawl… with laughter!

How does it feel to be starring in the show’s first-ever return to the West End since its original run?

It’s fantastic. It’s such a beloved show. I tend not to think of it in those terms, though. You’re aware of it, but at the end of the day you need to just do the job, because there’s not much you can do about it in terms of engaging with it. But it’s so lovely anyway. Initially, when we started the tour, there was no guarantee that we were going to be in the West End – so to be able to finally do it here, it feels like a lovely cherry on the top of the whole experience.

And even if you try not to think about it, does the show’s previous success pose a some additional responsibility anyway?

It does, especially at the beginning. But after being doing it for four weeks now, and you get accustomed to the venue, you realize that there’s really no difference in comparison to what you’ve done before. However, you start enjoying the magic of it: coming out of the theatre and seeing Nelson’s Column just around the corner, there’s the National Gallery, and a festival – it’s actually impressive in that sense, when you realize that you are in the very hub of things. I must say, though, that week leading to the start of the West End run, there was a bit of anxiety, because most of us in the company never had done it in this district before! So you start wondering if you had the necessary requisites and talent tp survive here. But once you’ve done it, you learn that there’s no difference whatsoever to where you’ve done it before.

Your role, in particular, requires to be continuously onstage for the entire performance. How do you manage to deal with such a demanding peformance?

Ice packs beneath the costume definitely help. I also eat boost bars in the start and middle of the show. The first act, especially, is very physical and intense. And though it’s cooled down a bit now, the first weeks were quite challenging because the fight was not to drown in a puddle of sweat. However, though it’s always a workout, you learn how to navigate through it.

After playing the character for so long, how do you manage to keep your character fresh?

It’s definitely another challenge. I think what I’ve been trying to do lately is to split it into two personas. There’s two Hannays, at the end of the day: the one who’s in our world, telling the story and trying to play the part; and the one who’s within the story itself. I’ve tried to keep those two elements aligned. Depending on the performance, I would push one forward while making the other come back a bit. On the other hand, you also try to always make sure that you’re focused on the recount and the person you’re interacting with. But it’s quite difficult – this is not a show that we’ve built from scratch; it’s been done before, and there’s a skeleton that we are stepping into. That adds another level of difficulty to keep it free and fresh. Yet, it’s all about finding little games that you can play with, apart from daring yourself to do things slightly different, and not allow yourself into any habit you may get used to – which is not easy after over 160 shows!

What do you think you’ve brought into the character and the performance?

That’s a good question. I would say an element of perfectionism. There’s a very keen desire for things to go well, which has tilted towards that attitude. I also have a genuine need for people to respond in the way I want, which in some way, works meta-theatrically.

Has your approach on the character evolved in any way?

Absolutely. Putting it in front of an audience is a very interesting thing. When a piece is meta-theatrical (with Hannay playing the character and telling the story to the viewers), that element is really noticed, and you start getting a better feeling of understanding about what you’re doing and what you’re trying to do – as well as what the themes really mean and the story is all about. In the end, it’s a process of deepening your bond with the personage and the plot.

How do you think Alfred Hitchcock would be feel if he came see the show?

I feel like the film itself was a bit over-the-top and camp on purpose. I’m sure he was aware of it. However, I think he may be horrified if he saw it. But I don’t know – he may have a sense of humour about it!

Are there any other particular challenges added to this role?

Yes! The touring element has been very difficult for me. It was brilliant going all around the country, changing places every week. But that routine can be very stressful and demanding on your mental health. However, we’re a very small company and we take care of each other.

Since it’s such a slapstick type of comedy, have you had any funny bloopers you’d like to share?

There’s lots of it! Back in Cambridge, one my colleagues couldn’t find the words to his line, and we just had to carry on with the play. It also happened that our stage manager decided to put Easter eggs all around the set once. We could find all of them except for one. During the performance, when my peer Eugene held one of the props, an Easter egg fell in front of 500 people! He immediately noticed it, but he was able to karate it offstage!

If you had to give me one single reason to come see The 39 Steps, which one would it be?

Because it’s an uplifting, fun and joyous celebration of theatre!

All production pictures credit to Mark Senior.

Read our review of The 39 Steps here!

The 39 Steps plays at London’s Trafalgar Theatre until 28 September. Tickets are available on the following link.

By Guillermo Nazara