Tag Archives: Gunnar Cauthery

2025

“The Spy Who Came in from the Cold” at the Soho Place Theatre

There can be few complaints about this new show, arriving in London via the Chichester Festival Theatre. It’s as solid a four-star affair as you could wish for and, based on the great novel by John le Carré, makes for high-class, intelligent entertainment.

If you don’t know this famous twisty spy story, with its intricate plot and triple crosses, then you’re in for a treat. If you’re already a fan, you’ll love seeing favourites such as Alec Leamas and George Smiley brought to life. There are villains, Gunnar Cauthery’s Mundt is a great one, but it’s the complexity of the characters that everyone loves.

Le Carré was a master at showing the psychology and moral implications behind spying. The production enjoys focusing on these, indicating the strain Leamas is under as the scenarios play out in his head, and emphasising the role of his innocent girlfriend, Liz, who is accidentally caught up in a world that isn’t just murky – it’s downright dirty.

The talented cast respond positively to depth of their characters. It is no small praise to say John Ramm makes Smiley his own (and a small cameo during the play’s trial scene makes this is a great show for him). Rory Keenan is fantastic as Leamas, more heroic than I imagined but convincingly troubled. The chemistry with this love interest, portrayed by Anges O’Casey, is terrific. 

Surprisingly, this is the first time Le Carré’s work has been adapted for the stage. Of course, the film and TV versions of his work are famous. And you might argue that the excellent radio adaptations (with Simon Russell Beale) are the best. But adapter David Elridge has done a faithful job that allows newcomers to follow the action and fans to give their approval. It’s respectful rather than inventive, but that is sensible when working with such quality material.

The whole creative team add light touches to enforce theatricality. Paul Englishby’s music might be a bit light and, given how sparse the staging is, Max Jones’ set still comes across as fussy. Director Jeremy Herrin gets the final praise for dealing with theatre in round so superbly, making the action fluid and fast moving – and allowing a neat irony. These spies have nowhere to hide, despite the story being one of subterfuge.

Until 21 February 2026

www.spyonstage.com

Photo by Johan Persson

2020

“Wonderland” from #HampsteadTheatreAtHome

This second online offering from Hampstead Theatre shows Britain in a different kind of crisis than the coronavirus we currently face – The Miners’ Strike of 1983. Although it’s always clear where the show’s heart rests, presenting events from the perspective of both workers and government creates problems. But playwright Beth Steel’s achievement is to convey a sense of those times as epoch making, giving the history a palpable urgency in a play full of passion.

There’s real heart in Steel’s depictions of the miners and it makes the story engrossing. Starting off slow, showing work underground, during the strike both tension and emotion build well. Performances from Paul Brennen as the ‘Colonel’ of a mine and a pitman who disagrees with the strike, played by Gunnar Cauthery, are highlights. If the roles of two young apprentices, Jimmy and Malcolm, seem less secured, with their motivations and characters more confused, there are further strong performances from Ben-Ryan Davies and David Moorst. Steel is strong at showing a blend of comradery, with humour and machismo, alongside revealing the craft behind the graft. It makes Wonderland powerful stuff.

When it comes to the politicians and businessmen on the other side of the strike, what is mined is conspiracy rather than character. The result is a selection of stark portrayals that, even if they are accurate, mean performances struggle. Michael Cochrane has a good go as Ian ‘Butcher’ MacGregor, Chairman of the Coal Board, which is an interesting role, surely written as too naïve. The parts for Transport Secretary Nicholas Ridley and that of David Hart, whose role in events is understandably confusing, are too villainous (likewise any police shown). It’s left to the ‘wet’ Energy Secretary Peter Walker to present any kind of balance and, while Andrew Havill, who takes the part, does a good job, he isn’t given enough to work with.

There are moments when director Edward Hall could help more: a scene of political debate disappears into the pit as it’s getting interesting and a tragic finale, which enforces the dangers of mining and has some of Steel’s finest writing, is sacrificed for the sake of action. Yet Hall deals with all the incident Steel crams in – and it’s a lot – with commendable efficiently. The set from Ashley Martin Davis, mining lifts and all, is excellent and well used. There’s valuable support from lighting designer Peter Mumford and composer Simon Slater, whose ‘theme tune’ for the miners is highly effective. The commitment behind the show shines out as the injustice of “proud working men treated like dogs”, victims of ideology and political machination, are exposed with conviction.

www.hampsteadtheatre.com

Available until 12 April 2020

Photos by Manuel Harlan