If you are used to seeing Ralf Little soaking up the sun in Death in Paradise, his latest role might come as a bit of a shock. Little swaps out his sandals and steps into the world of spies, secrets and deception in the touring production of The Spy Who Came in From the Cold, which hit the Wales Millenium Centre on Tuesday the 28th of April.
Inspired by the 1963 spy novel by John le Carré, the play follows Little as protagonist, Alec Leamas, a worn-down British intelligence officer, agent on one final mission into East Germany at the height of the Cold War. Disguised as a disgraced ex spy, he is drawn into an elaborate operation overseen by his backstabbing colleagues George Smiley (Tony Turner)and Control (Nicholas Murchie). Along the way, Leamas unexpectedly falls for Liz Gold (Grainne Dromgoole), a communist librarian, who ends up loser to action than she bargains for. What unfolds next reveals more a slow burn unravelling, whether no one is quite what they seem.
Little delivers a committed and solid performance at the centre of the production. While critics reception has been mixed to positive, with some suggesting his portrayal lacks the emotional depth the role demands, there are still moments were tension cuts through effectively. Even where sincerity dips or intensity falters, his performance anchors the play throughout.
While intensity drove the play, moments of alleviation effectively tied in the finishing details. This included the more risqué comedic moments, such as the innuendos made by Ashe (Jeff D’Sangalang), a homosexual agent, picking up men to facilitate his spy work. Meanwhile, the softer exchanges between Liz Gold and Alec Leamas offer a sense of warmth, easing thetension of an otherwise complex and dramatic storyline.
Directed by Jeremy Herrin and adapted by David Elridge, the production runs at just over two hours, as well as interval. Visually, it leans into a contemporary, stripped back atmospheric style; an ominous set highlighted by flashes on blue that subtly signal moments the audience should hold onto. Ridged, steel-like structures evoke the cold mechanics encapsulating the harshly classified or military feel, as well as doubling as the Berlin walls at times.
Minimal props, such as tables, chairs, lamps and liqueur stands are a nod towards the period of the play without cluttering the stage. Costume followed a similar pattern; dark, simple and deliberately ambiguous. A choice that fell in line with the plays theme of secrecy and seediness.
At times, the production struggled to maintain momentum. Certain scenes linger a little too long, and moments of emotional flatness can interrupt the pacing. Still, despite the uneven patches, the play delivers solid entertainment, an engaging storyline and moments of quite charming sincerity.
Celebrating the critically acclaimed John le Carré novel, this new production brings to life the moody, yet riveting world of Cold War Espionage to the iconic Cardiff stage.
