This is the first time John le Carré’s novel has been adapted for the stage, and David Eldridge, brave man that he is, took on the challenge. He has created a magnificent adaptation, even making the story as told by le Carré more accessible, although it still does take concentration. Concentration it had in spades at the performance I attended, the audience hardly daring to breathe in case they missed some important point in the narrative.
The main characters, at first ringed around the stage, are introduced one by one by Control, the head of the British spy ring known as ‘The Circus’, which is certainly a help in following the complications of the plot.
The world of espionage is not a pleasant one—full of duplicity, plot and counterplot, the need for watchfulness and constantly on the alert for danger. Long-time spy Alec Leamas has had enough and wants to “come in out of the cold”, hopefully to lead a normal quiet life again, but he is persuaded to take on one final mission before retiring. He must kill Mundt, a cold-blooded killer and former Nazi who had worked in London as a spy for East Germany. Nothing, however, is quite as it seems in this strange and terrifying world.
Rory Keenan is mesmerising as Leamas, taking us on his journey from world-weary to a recharge of purpose as he takes on this new challenge, then his self-imposed degradation to alcoholism, gratuitous violence and a spell in prison with the purpose of persuading the enemy he might be ready to work for them. A brilliant performance alternating between the necessary cynicism and lack of sympathy, being insensitive to the fact that friends have been gunned down, yet his conscience pricking at the needless death and destruction that is involved with his job.
Falling in love was not part of the plan and it makes him vulnerable as well as creating problems for his lover, Liz Gold, with another exceptional performance from Agnes O’Casey as, terrified but determined, she tries desperately not to say anything which might be harmful when questioned at the German Tribunal. Great work too from Norma Atallah as Chief Librarian and also President of the Tribunal.
It is a very ‘wordy’ play, but director Jeremy Harris keeps the action firmly on track (except perhaps for a little repetition at the Tribunal) and works it up well to the very exciting and thrilling finish at the Berlin Wall, while Chris Storr’s trumpet, music composed by Paul Englishby, creates an unobtrusive, atmospheric ambiance.
A bicycle was used as a means of escape, and the now deceased Karl RIemeck (Mat Betteridge) frequently wheels one around the stage as a very sombre but poignant metaphor.
This is a play which will be discussed very many times, and I now feel I must read the book again with further insights into the meaning. One definitely not to be missed!