Inside Lisa McCune’s Whirlwind Journey of THE 39 STEPS

It’s been hailed as a masterclass in theatrical sleight of hand: four actors, around 130 characters, and a runaway spy thriller that barely stops to catch its breath. As THE 39 STEPS hits stages across Australia, one of the country’s most beloved performers, Lisa McCune, is at the centre of the whirlwind, slipping between characters, costumes, and comic chaos with her signature grace and precision.

Adapted by Patrick Barlow from the Hitchcock classic, this madcap version of THE 39 STEPS is equal parts farce, romance, and edge-of-your-seat espionage, with McCune joined by Ian Stenlake and the riotously inventive Umbilical Brothers. Under the deft direction of Damien Ryan and powered by the ingenious design work of James Browne, Matthew Marshall and Brady Watkins, this production is equal parts craft and comedy.

Speaking with us mid-tour, McCune opens up about the thrill of fast changes, the joy of ensemble storytelling, and the backstage ballet that keeps the machine moving. With fight choreography by Scott Witt and dialects drilled by Jennifer White, THE 39 STEPS is as precise as it is playful, and McCune is loving every second.

THE 39 STEPS compresses a whole spy thriller into a tiny cast who conjure around 130 characters. Which split second switch is your biggest adrenaline spike, and how do you keep the laugh without losing the plot?

I’m fortunate to be working with a brilliantly capable team onstage and off. A director who understands the pacing and musicality required for a comic/drama, and a design team who have created sets and costume, lights and sound that support and elevate the script.

The backstage machine is a show in itself, and every night it’s a joy being part of the mad world on the dark side of the cloth. That’s where the adrenaline is coming from! And keeping the laughs without losing the plot? I always go back to telling the story … otherwise it’s just a silly sequence of events. Come see the show to witness master comedy storytellers at work…I share the stage with them every night and I’m simply in awe of how they balance story and laughs.

You share the stage with Ian Stenlake and The Umbilical Brothers. How does that blend of straight faced romance and high velocity clowning change your instincts in the room and in front of an audience?

As I mentioned, there is a team of comic geniuses working on this show! I watch, listen, and try to stay ‘alive’ within the script and story. For my characters, I play their story with conviction! Working with these guys…I’m living the dream. Damien Ryan is at the helm as director.

What is one point of direction he gave you that unlocked the show, and what did he ask you to leave behind?

Damien is extremely generous. He understands and respects the actors process, and we continually layered this piece as it evolved. Open to ideas, he allowed the performers to have a voice in its construction. We all adored working with Damien and it was a delightfully creative rehearsal process. No idea was too big or silly…and a lot made it into the show. I think he worked like a conductor on this piece. Playing with rhythm and pace, turning up intensity and pulling it back.

Patrick Barlow’s adaptation bends Hitchcock toward farce. Which piece of Hitchcock grammar do you keep truthful, and where do you let it snap for a bigger laugh?

A lot of the text is from the film, with tonal echoes from the original book written by John Buchan. And indeed, there are some ‘snap’ moments that have made their way into this production, but they are largely physical comedy moments that the ‘clown’ characters play. And they garner some of the biggest audience reactions of the night.

James Browne’s set and costumes invite sleight of hand. What single transformation still surprises you when you are inside it, and why?

I love the transition sequences in this design. A combination of sliding screens, cloths, simple set pieces on 2 trucks and screen projection create so much stage magic. I’ve heard it described as a ‘hand-made’ show. James must have a had a small heart attack when he first read the play. But its concept is unique and very rewarding to perform on. It took a while to master! The costuming is quite incredible how it covers over a hundred characters. Spot the onstage changes!

Do you treat James Browne’s Set Design, Matthew Marshall’s lighting and Brady Watkins’ sound as scene partners, and can you share one cue that saves your life on a fast change or a chase?

THE 39 STEPS is a team effort and yes, we are scene partners. Brady has designed sound that supports the visual comedy and provides the tone and ambience of time and place. It’s a huge sound design! The set and lighting design give us the magnificence required for a chase story which changes location every scene. (Matt is a fellow WAAPA grad and it was such a highlight to work with him). I think all our designers have a funny bone, so got the material.

With Jennifer White coaching dialects, what is the toughest accent pivot you make in one scene, and what is your micro technique for landing it without tension?

Jennifer is a master at accents, and I thoroughly enjoyed preparing with her. Being a comedy, there’s humour to be had in ‘flavours’ of accents…and we played a lot with that. For me, accents help create character and I always enjoy an opportunity to work with them in a show.

Scott Witt shapes the fights and the slapstick. Where is the line between safe chaos and real risk in this show, and who calls it when energy spikes?

We just don’t do risk. That’s why producers involve experts in physical and intimacy roles. Performing 8 shows a week requires stamina and a degree of fitness, so we can sustain a season. These elements are important to make the machine run smoothly.

You and Ian Stenlake have a long shared history on screen. What new trust did you discover together in this stripped back, high speed form, and how does it colour the romance?

This is my fourth time working with Ian. He’s super sharp and funny and nailing our leading man Richard Hannay in THE 39 STEPS. You have a shorthand when you revisit a working relationship – and I’ve enjoyed this one immensely.

When you are deep into the tour and the rhythm is set, what mischief do you allow to keep the danger fresh, and which one prop from this production would you steal for your next job?

This play is a living organism, and it breathes differently every show. The relationship with the audience is unique every time we do it – and it never gets boring. The prop I would steal… there are so many! Perhaps the plane I pilot!

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THE 39 STEPS is now in season.

For more information or tickets CLICK HERE