PORTLAND – There are more “authors” cited for the theater version of “The 39 Steps” than there are actors in it.

First among the former is Alfred Hitchcock, whose 1935 film of the story has long been known as a classic. But there was also John Buchan, whose novel formed the basis of Hitchcock’s movie.

Then Patrick Barlow came along much later and adapted an “original concept” by Simon Corble and Nobby Dimon to write the Broadway hit, a production of which opened Friday night at Portland Stage.

Too many cooks? Too few servers with only four actors switching hats, wigs and sometimes genders to play dozens of characters?

Not to worry. Though the play is a bit of a contraption, it’s a very funny one with all types and levels of humor flying out from its busy facade.

The story of an intrepid young man who gets involved (or “in-wall-ved,” as one character with an exaggerated accent puts it) in the dangerous world of international espionage in between-the-wars Britain is told as a backstage fantasy. Boxes, clothes racks and staging are transformed into beds, cars, trains and bridges as the tale, best when moving at breakneck speed, unfolds.

One can’t help but think of Monty Python or Mel Brooks at times as the hero falls into and out of the hands of drama-queen femme fatales, bumbling policemen, music hall second bananas and various other eccentrics during his journey to free himself of a murder charge and uncover a spy ring.

In the lead role, Paolo Andino became that sort of amazingly resourceful middle-class Joe who charms and wisecracks his way to success against incredible odds. At one point, showing acrobatic prowess during a harrowing escape scene set on a railroad bridge high above the stage, Andino was the dynamic center of the performance and the perfect modern leading man.

Gardner Reed was first the shady lady who ends up dead in the hero’s apartment and later returned as a lonely farm wife (plenty of familiar characters nicely rendered for laughs in this show) and the spirited sweetheart who we know will win and be won over before the play can end.

Dustin Tucker and Torsten Hillhouse took numerous roles, often changing each other’s costumes in marvelously choreographed scenes that were highlights of the show. Their traveling lingerie salesmen and Scottish hoteliers were particular delights.

Director Samuel Buggeln and his staff deserve a lot of credit for making this show work on so many levels. One does notice when the action slows down, but that takes little away from the charm of this good, old-fashioned entertainment, served up on a bed of nostalgia for the sort of hard-working theatricality that can still be great fun to experience in person. 

Steve Feeney is a freelance writer who lives in Portland.