I Spy a Little Hit

The current touring production of The Spy Who Came in From the Cold stopped off at Richmond Theatre in southwest London and it made for a gripping, classy night out.

John le Carré’s famous Cold War novel is not the easiest story to bring to the stage, with all its layers of deception, shifting loyalties and emotional reserve, but this version manages to feel both intelligent and theatrical.

It has a moody, elegant atmosphere from the start, with a single bicycle lying mid-stage – something terrible has obviously happened to its rider.

From there, the production pulls you into a world where almost nobody says exactly what they mean and every conversation seems loaded with danger.

The story follows Alec Leamas, played by Ralf Little (pictured above), a tired and battle-scarred British intelligence officer who is drawn into one final mission. Leamas is not a black tie/martini sipping type of operative, rather an embittered disillusioned spy scarred by the realities of international espionage.

What begins as an apparently straightforward plan to damage a powerful East German operative soon becomes much murkier. Leamas is sent into a dangerous game of bluff, betrayal and manipulation, while his growing connection with Liz Gold adds real emotional weight. Liz, played here by Gráinne Dromgoole, is far more than a love interest; she becomes a reminder of conscience and ordinary human feeling in a world built on secrets.

The plot is dense, but the production trusts the audience to keep up with lots of additional script exposition.

Little, exhibiting real charisma on stage, is a really strong presence at the centre of the evening, giving Leamas a worn, guarded quality that suits the character well.

He never overplays the angst, which makes the role feel all the more believable. Gráinne Dromgoole brings warmth and intelligence to Liz Gold, while Tony Turner gives George Smiley a quiet authority that is very effective.

Nicholas Murchie is suitably watchful as Control, and Peter Losasso adds real menace as Hans-Dieter Mundt. Around them, the wider company helps keep the action taut and clear, and the direction gives the whole piece a cool, stylised cinematic flow without losing the intimacy that theatre does best.

This production does not try to turn le Carré into a flashy action thriller; instead, it leans into the story’s bleakness, intelligence and moral uncertainty. That makes the climactic moments hit harder. If you enjoy theatre that asks you to listen closely and think as well as feel, this is a very rewarding adaptation.

It may not be the kind of spy story that sends you out wishing you had a glamorous life of international espionage, but it is stylish, tense and full of substance. Seen at Richmond Theatre, it felt like exactly the right setting for a drama this polished and atmospheric.

A thoughtful, absorbing show, and well worth catching on tour at

• Brighton (Theatre Royal): June 2 – 6

• York (Grand Opera House): June 9 – 13

• Norwich (Theatre Royal): June 16 – 20

• Nottingham (Theatre Royal): June 23 – 27

• Birmingham (The Alexandra): June 30 – July 4

• Newcastle (Theatre Royal): July 7 – 11

• Milton Keynes (Milton Keynes Theatre): July 14 – 18

• Salford (The Lowry): July 23 – 25

• Cambridge (Arts Theatre): July 28 – August 1

• Bath (Theatre Royal): August 11 – 22

For tickets and further information visit https://spyonstage.com/uktour/