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
Photo by Johan Persson