The Spy Who Came in from The Cold Archives

The Spy Who Came In From The Cold – The Lowry

24Jul

By Helen JonesNo Comments

North West

The Spy Who Came In From The Cold – The Lowry

John Le Carre’s original novel The Spy Who Came In From The Cold was first published in 1963 and was his third novel, the plot very much triggered by the building of the Berlin Wall in 1961. Alec Leamas works for The Circus, a British intelligence organisation who are running spies between the West and the communist East. The Cold War issues are very dominant in the story. Leamas is trying to get his last agent out of East Berlin but as he makes his escape across No Man’s Land he is shot by the German counterintelligence officer Mundt. Back in the UK Leamas is keen to retire from service but the head of The Circus, a man known merely as Control has one last job for him which will silence Mundt forever. In order to do so, Leamus must appear to be out of The Circus...

The Spy Who Came in from the Cold – Sheffield Lyceum

The Spy Who Came in from the Cold brings John Le Carré’s 1963 Cold War novel to the stage, alongside plenty of carefully woven drama, deception and espionage. The Ink Factory and Second Half Productions take us on a tumultuous journey to East Germany alongside British intelligence officer Alec Leamus at the Sheffield Lyceum Theatre. The play is well adapted by David Eldridge, with a relatively digestible storyline and many witty British references sprinkled throughout the script. It felt as though there was a lot of “telling”, with little “showing”, particularly in the first act. There were several times where characters, particularly Leamas, referred to the show’s title and broke the fourth wall, clichés that surely caused a few eyerolls in the audience. Yet, the scenes featuring Leamu...

The Spy Who Came in from The Cold – Edinburgh Festival Theatre

One of the predominant elements of John Le Carré’s novels concerning British Intelligence is bleakness. A mantle of washed-out grey cloaks the lives and actions of his characters, darker shades representing the shadows in which they are doomed to operate. As his son Nick Harkaway writes in the programme (in contrast with another, cinematically celebrated, agent of ‘the service’) there’s ‘not a martini or an Aston Martin in sight.’ The set (Max Jones) and lighting (Azusa Ono) for tonight’s show reflect this, the barbed-wire topped wall looming mute behind a floor displaying the contorted map of Europe in the early 60’s. The uniforms and attire of all concerned (with the exception of Liz Gold’s turquoise suit in the closing scenes) are relentlessly dour, and in Alec Leamas’s case, appr...