How often adaptations of novels for film or stage trigger impassioned bouts of analysis and almost always negative conclusions. In this case the relative purposes of John Buchan’s classic thriller in the climate of Britain, 1915, and Ross Gumbley’s intrepid stage version for a totally different audience in 2007 are so far apart that there is really no point in the debate.

It is hard to beat a good theatre frolic on a winter night and the sound of shared mirth as challenging adventures materialise and are triumphantly dealt with right there, a few steps away. They are adventures presented at a reckless pace, with little of the cat and mouse trepidation layered into the novel, but to see this new work as a Reader’s Digest version  with live pictures, would be to underestimate the theatrical flair used to solve the challenges of a couple of hours of narration, not  to mention the huge entertainment of  its inventive staging.

Gumbley settles for direct storytelling from Richard Hannay, Buchan’s hero, with frequent cinematic fades into action sequences borne along by stirringly patriotic music and often embellished by wonderful models. A trio of actors plays a dazzling array of minor roles and the whole experience is delivered with a playfulness that is partly tongue in cheek deflation of the genre, and partly pure inventive fun. A long way perhaps from the thrillingly sinister novel but totally appropriate for a contemporary romp.

In the fun and fury of the quest to decode a message of vital importance for national security, characters materialise and disappear in an instant. They need appropriate positions for spying and overlooking  as well as devices to convey the sound and sight of  items such as a train or a bi-plane. Set and model designer, Tony Geddes, and sound designer, Loki Stanley, provided a vital component for the success of this production.

The real engagement or otherwise of the audience of course, relies on the actors. As a model of poker faced resourcefulness Stephen Papps allows the narration to carry the day. A staunchly neutral and impassive observer of his own adventure, he contrasts nicely with the rest of the ensemble – Tom Trevella, Geoffrey Heath and Claire Dougan-  whose role changes invariably involve another crisis or solution, always handled with assurance and energy.

There is ‘more to things than you imagine,’ says Hannay in the closing moments of the play, a pronouncement which could stand well enough as a comment on this piece. It certainly brings a  fresh perspective to Buchan’s ripping yarn. It is a good hot toddy of a production, unashamedly finding a new reading for a new world.
 

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