Stage Adaptation of 'The Spy Who Came In From The Cold' Grips Audiences at New Victoria Theatre
John le Carré's modern classic novel The Spy Who Came In From The Cold has been masterfully adapted for the stage, and I must admit, I initially questioned the necessity of this production. Given its frequent appearances on television and in film, the dénouement is likely familiar to many. However, earlier this week at the New Victoria Theatre, I discovered I was mistaken.
A Tense and Disciplined Production
I witnessed a performance that exerted a vice-like grip on an attentive audience, maintaining a cool discipline that never slackened. Directed by Jeremy Herrin, le Carré's famously intricate plotting has been adapted by David Eldridge into moments of tense precision. Even as it progressed toward the ending I knew, it still managed to surprise me suddenly.
The novel resists a neat summary, but Eldridge's adaptation is cleverly robust enough to absorb the main elements. Alec Leamas, portrayed by Ralf Little, is a worn British agent in Cold War Berlin. He is brought 'in from the cold' after the collapse of his network, only to be sent out again on one final mission—an elaborate deception.
Layered Operation and Moral Ambiguity
What follows is a layered operation involving a staged disgrace, defection, and a trail across the Iron Curtain. Each turn reveals not clarity but further ambiguity, until loyalty itself becomes suspect. On stage, this density presents both a risk and an achievement. David Eldridge trusts the audience to engage deeply with the story.
His adaptation pares le Carré's narrative to its essentials, using the remaining complexities not to bewilder but as a backdrop of moral fog and distrust. Ralf Little strides onto the stage but rarely commands it, which is fitting—after all, what secret agent wants to be noticed? There are moments where we arguably do not know where he is going, and that is precisely the point. Little delivers a performance that progresses from understatement to a mature and satisfying conclusion.
Stark Direction and Cumulative Effect
Under Jeremy Herrin's direction, the production leans into a stark, watchful world—Berlin divided, with light cutting through darkness, and characters observed as much as observing. This creates a cool but steadily accumulative effect. My initial doubt about whether such a novel could and should be staged was slowly answered. Yes, the adaptation worked for me, but did it for everyone?
I believe it did. Although there was a smaller audience than usual, attention was riveted to the stage. I did not hear a stir, cough, or splutter all evening, which is a testament to its achievement. The Spy Who Came In From The Cold is showing at the New Victoria Theatre until Saturday, April 4, 2026.
'The Complete Works of William Shakespeare (Abridged)' Returns in Chaotic Triumph
In a separate theatrical event, The Complete Works of William Shakespeare (Abridged) cartwheeled into Guildford on Monday last and onto the stage of the Yvonne Arnaud Theatre. This is a new production of a script originally seen in 1987, which has been 'rested' in recent times but returns in chaotic triumph.
A Small Theatrical Miracle
The rest appears to have refreshed and reinvigorated what is a small theatrical miracle: three performers, a bare stage, and an apparently impossible task—compressing the entire Shakespearean canon into a single, uninterrupted sweep. What is striking, even on repeat acquaintance, is how crafted the chaos is.
The histories are marshalled into a sporting contest; the comedies collapse into a study of romantic confusion; the tragedies are given a brisk review, with Hamlet especially examined. This has an accumulative effect as forgotten memories, references, quotes, and lessons suddenly tumble into our minds.
Formidable Pacing and Engaging Humour
The pacing is formidable, but the humour is not merely a matter of speed. It lies in the recognition of familiar plots and recurring devices as the actors travel swiftly between characters. In effect, our laughter, joy, and participation become part of the performance, not a diversion from it.
This 'Abridged' evening does not reduce Shakespeare but offers a reframing. The plays emerge contorted, but plots, characters, and events are thrown into relief for re-discovery, recognition, and, in my case, curiosity—'what play was she in?' I joined a smaller first-night audience than usual, but one that clearly loved it.
A word to the wise: if you have a front-row seat, be prepared to join the cast—but I think you will have fun. The show is directed by Adam Long and runs at the Arnaud until Saturday, April 4, 2026.
