Review: NORTH BY NORTHWEST at The Old Globe

Following in the footsteps of “The 39 Steps” and countless other noir films adapted for the stage, “North by Northwest” faces an immediate challenge: how do you transform a beloved cinematic thriller into a live theatrical experience without losing the mystery and tension that made the original work? Under the direction of Emma Rice, The Old Globe’s North American premiere succeeds by bringing something many of these adaptations lack: a finely tuned sense of style and panache.

Based on Alfred Hitchcock’s 1959 film, “North by Northwest” follows advertising executive Roger Thornhill, whose ordinary life is upended when he is mistaken for a government agent and drawn into an international conspiracy involving espionage, murder, and a mysterious woman named Eve Kendall. Rice’s adaptation follows the film’s story closely while transforming the action into a playful, high-energy theatrical event filled with music, movement, and visual surprises.

The production’s greatest strength is its remarkable ensemble, led by Danny Collins as Roger Thornhill. Collins brings a perfect combination of charm, humor, and physical brilliance to the role. He is not attempting to imitate Cary Grant - instead, he creates his own version of Roger: occasionally heroic, occasionally bewildered, and always in the wrong place at the wrong time. His dance and movement abilities are essential in a production that rarely stops moving, whether through carefully choreographed fight sequences, comic physicality, or full-scale musical interludes.

Patrycja Kujawska’s Eve Kendall captures the character’s Hitchcock-inspired icy elegance while adding a sharper sense of agency and strength. She has the necessary femme fatale mystery but also gives Eve an impish intelligence that makes her more than simply the glamorous woman at the center of Roger’s adventure. Karl Queensborough is equally memorable as the sophisticated and dangerous Phillip Vandamm, while also delivering a wonderfully comic contrast as Roger’s hilariously impatient mother. Katy Owen’s Professor serves as the show’s mischievous narrator and audience guide, bringing an oddball severity and infectious energy that keeps the evening moving. Simon Oskarsson and Bryony Pennington play Vandamm’s accomplices Valerian and Anna, who seem to have different motivations for their devotion to Vandamm's actions, and Evangeline Dickson plays Mrs. Towsend, who initially helps cast doubt on Roger’s claims that everyone is up to something.

Rice’s direction embraces the story's theatrical possibilities rather than simply recreating the film. The production’s swinging, late-1950s-inspired musical moments, original sound design by Simon Baker, and Etta Murfitt’s athletic choreography create a world that feels like Hitchcock filtered through a retro cool stage imagination. The romantic sequence between Roger and Eve on the train becomes almost balletic, with movement and music transforming their flirtation into one of the production’s most memorable moments.

Rob Howell’s scenic and costume design is very sharp. The versatile set, anchored by oversized revolving doors, constantly transforms into new locations—a train car, a bar, hotel spaces, and more—while a seemingly endless collection of suitcases becomes both a practical tool and a visual joke. The precision required from the actors and crew to manipulate the scenery and props is a performance in itself. Malcolm Rippeth’s lighting design further enhances the cinematic quality, with saturated colors, silhouettes, and shadows that create a production that feels constantly in motion.

The one challenge with turning a classic thriller into a theatrical comedy is that some of the suspense inevitably gets traded for entertainment. The original film’s tension and mystery are softened by the added jokes, audience interaction, and musical numbers. While the audience clearly enjoyed that substitution, by the second act, it begins to lose some momentum as the playful additions give ample time to contemplate the original plot, which works best when that tension and suspense are not interrupted as much.

Still, that is a minor flaw in an otherwise wildly inventive production. “North by Northwest” showcases what happens when talented artists take a familiar story and joyfully reinvent it.

Also to be celebrated is that The Old Globe gives the entire company a full cast-and-crew bow, recognizing the many hands that make this kind of theatrical magic possible. More of that, please.

How To Get Tickets 

North by Northwest runs July 3–August 2, 2026, at The Old Globe’s Donald and Darlene Shiley Stage. For ticket and showtime information, go to theoldglobe.org

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