The Spy Who Came in From the Cold
Image by Johan Persson
John le Carré’s The Spy Who Came in From the Cold is undoubtedly one of the best-known spy novels of the twentieth century, transporting readers into the tense and uncertain world of Cold War Berlin. Now, David Eldridge’s stage adaptation has arrived at Theatre Royal Bath fresh from its West End run, bringing this classic story of spies, secrets and shifting loyalties to the stage.
Having read the novel a few years ago, I was interested to see how its detailed storytelling and many internal thoughts would translate into a live performance, and I was pleased to find a production that feels both faithful to the original and refreshingly theatrical.
For those who are already familiar with the novel, there is something reassuring about seeing so much of its essence preserved, while for newcomers, the production offers a compelling introduction to one of the great works of twentieth-century espionage fiction.
Having read the novel a few years ago, I was interested to see how its detailed storytelling and many internal thoughts would translate into a live performance, and I was pleased to find a production that feels both faithful to the original and refreshingly theatrical.
For those who are already familiar with the novel, there is something reassuring about seeing so much of its essence preserved, while for newcomers, the production offers a compelling introduction to one of the great works of twentieth-century espionage fiction.
Image by Johan Persson
One of the most interesting challenges of adapting le Carré for the stage is that so much of the novel’s power comes from what happens inside its characters’ heads. The book is intricate and deliberately measured, allowing us to sit with Leamas’s thoughts and uncertainties. On stage, that internal world must be externalised, and Eldridge does this by placing greater emphasis on dialogue, performance and the rapid movement of the story.
The result is a production that feels much faster moving than the novel. The story has been compressed significantly, and while this makes for an engaging and accessible evening of theatre, I did occasionally find the pacing of the first half a little frantic. There is an enormous amount of plot to cover, and at times the production seems almost determined to keep moving before we have quite had time to catch our breath.
Yet once the story settles into its rhythm, the tension really begins to take hold. The twists and moral ambiguities of le Carré’s story remain gripping, while the relationship between Leamas and Liz Gold gives the production a surprisingly tender emotional core. By the time the final moments arrive, the play feels not only intriguing and suspenseful but genuinely moving.
Ralf Little gives a superb performance as Leamas, capturing the character’s exhaustion, cynicism and underlying vulnerability. It is a role that requires an actor to communicate a great deal without necessarily saying it. Little brings a realistic weariness to the character as Leamas becomes increasingly caught between duty, deception and his own conscience.
Visually, the production is a wonderful example of how a relatively simple stage can create an entire world. The set design and dressing are understated but highly effective, while the music and lighting do much of the atmospheric heavy lifting. I particularly loved the use of lighting, which repeatedly gives the stage the stark, shadowy quality of a classic black-and-white film noir.
The result is a production that feels much faster moving than the novel. The story has been compressed significantly, and while this makes for an engaging and accessible evening of theatre, I did occasionally find the pacing of the first half a little frantic. There is an enormous amount of plot to cover, and at times the production seems almost determined to keep moving before we have quite had time to catch our breath.
Yet once the story settles into its rhythm, the tension really begins to take hold. The twists and moral ambiguities of le Carré’s story remain gripping, while the relationship between Leamas and Liz Gold gives the production a surprisingly tender emotional core. By the time the final moments arrive, the play feels not only intriguing and suspenseful but genuinely moving.
Ralf Little gives a superb performance as Leamas, capturing the character’s exhaustion, cynicism and underlying vulnerability. It is a role that requires an actor to communicate a great deal without necessarily saying it. Little brings a realistic weariness to the character as Leamas becomes increasingly caught between duty, deception and his own conscience.
Visually, the production is a wonderful example of how a relatively simple stage can create an entire world. The set design and dressing are understated but highly effective, while the music and lighting do much of the atmospheric heavy lifting. I particularly loved the use of lighting, which repeatedly gives the stage the stark, shadowy quality of a classic black-and-white film noir.
Image by Johan Persson
And then there is the cigarette smoke. Leamas is frequently seen smoking, and as the smoke drifts and disperses across the stage, it creates an almost cinematic atmosphere: hazy, monochromatic and unmistakably Cold War. It is a small theatrical detail, but one that lingers, adding another layer to the production’s sense of time and place. There are moments when the stage feels less like a conventional theatre set and more like a frame from an old spy film.
For fans of John le Carré, this is a fascinating opportunity to see one of his most celebrated novels translated into a different medium. And if you have never read The Spy Who Came in From the Cold, don't let that put you off: this is an atmospheric, accessible and gripping piece of theatre in its own right, and one that may well send you home wanting to pick up the novel afterwards.
This isn't simply a tale about spies and secret missions. Beneath the intrigue is a much darker examination of loyalty, sacrifice, manipulation and the human cost of political conflict. And, perhaps appropriately for a play about staying out in the cold, Theatre Royal Bath's excellent air conditioning deserves a small mention too. On a warm August evening, a fully air-conditioned auditorium made the whole experience considerably more pleasurable, especially when settling in for a two-hour-plus evening of Cold War intrigue!
The Spy Who Came in From the Cold is now showing at Theatre Royal Bath from Tuesday 11 to Saturday 22 August 2026,following its West End run. Thanks again to the theatre for inviting me along to review the show on press night.
For fans of John le Carré, this is a fascinating opportunity to see one of his most celebrated novels translated into a different medium. And if you have never read The Spy Who Came in From the Cold, don't let that put you off: this is an atmospheric, accessible and gripping piece of theatre in its own right, and one that may well send you home wanting to pick up the novel afterwards.
This isn't simply a tale about spies and secret missions. Beneath the intrigue is a much darker examination of loyalty, sacrifice, manipulation and the human cost of political conflict. And, perhaps appropriately for a play about staying out in the cold, Theatre Royal Bath's excellent air conditioning deserves a small mention too. On a warm August evening, a fully air-conditioned auditorium made the whole experience considerably more pleasurable, especially when settling in for a two-hour-plus evening of Cold War intrigue!
The Spy Who Came in From the Cold is now showing at Theatre Royal Bath from Tuesday 11 to Saturday 22 August 2026,following its West End run. Thanks again to the theatre for inviting me along to review the show on press night.