Review of The Spy Who Came in From the Cold at Milton Keynes Theatre

The Spy Who Came in From the Cold is one of John Le Carré’s more well-known titles in his world of spy fiction, and having been adapted into a highly rated 1965 film with Richard Burton, it is perhaps surprising that it took until 2024 for this stage adaptation to appear, adapted by David Eldridge, and now at Milton Keynes Theatre. In many ways, it feels like a ripe story for a stage play, with locations and theatre folk often liking the cerebral storytelling it offers, so this should be perfect for the stage?

The Spy Who Came in From the Cold depicts Alec Leamas, a British intelligence officer, being sent to East Germany as a faux defector to sow disinformation about Hans-Dieter Mundt, a powerful East German intelligence officer. However, as expected in the spy world, all is not as it seems, and with the lurking figure of the supposedly retired spy George Smiley in the background, Leamas finds things moving far from his control.

It has to be said that Eldridge’s adaptation struggles in many places to bring what should be an intriguing story to the stage. Whether it be condensing the story too much and telling it too swiftly, the first act, in particular, is a swamp-like place of storytelling, where you struggle to keep a hook on the events. Some scenes are swift; others go on too long; and, in between, we have offshoots, labelled by a blue light around the representation of the Berlin Wall at the back of the set. These moments are often unclear; you feel that many, if not all, are in Leamus’ mind; however, are they not reflections on the past? Whatever it is, it is not always clear, and it muddies the story too much.

Perhaps, this is all intent, Eldridge, and of course Le Carré, are keeping us confused about what is going on, like Leamus himself; however, if this confusion still reigns by the interval, as it mostly does, perhaps this is a step too far, and you have lost the audience?

It is very true that the second act helps clarify the situation and makes the story clearer by the end, but questions and confusion do remain beyond the story's final morality and the darkness of the spy world. The second act is by far the better one as well, with the three best scenes contained within: a battle in the dark by Leamus against assailants, a graphic, well-staged torture scene, and an absorbing courtroom scene that fully allows the cast to engage in clearer storytelling.

The cast is as a whole excellent, from Ralf Little as the downtrodden and simply tired spy, here for one final mission, one too far perhaps. Little plays the role unemotionally, a man simply doing his job, with just the very occasional moment of whimsy (some that work, others that feel forced). His lack of emotion often extends to his encounters with Liz Gold, a young communist librarian who immediately takes an interest in Leamus. As Gold, Gráinne Dromgoole is excellent, delivering a subtle performance that hides an obvious strength. She breaks down Leamus’ emotional walls to form a sexual, perhaps loving, relationship, although the play gives us little time to see how this has occurred believably.

Peter Losasso’s Mundt is suitably chilling, conveying much of the menace in a few words and movements, culminating in violence against Leamus. Eddie Toll’s portrayal of Fiedler, Mundt's deputy, is equally so, although he has more to say. Both avoid successfully any caricature of German spies, however, making them believable.

Melody Chikakane Brown brings some much-needed humour with her brief appearance as Miss Crail, while Tony Turner suitably hides in the shadows as George Smiley, perhaps, controlling everything, maybe not, but Turner gives nothing away.

Max Jones’ design is suitably noirish and gritty, although its Berlin Wall backdrop isn’t as menacing or imposing as you would expect. However, it offers plenty of space for director Jeremy Herrin and tour director Joe Lichenstein to stage scenes. Sam Lyon-Behan brings a few very effective moments of action to the stage with his fight direction, and Paul Englishby’s excellent music perfectly captures and enhances the period and atmosphere.

The Spy Who Came in From the Cold, as a play here, is finally functional in the second act, at least, giving the cast and the audience some material to get their teeth into and be interested in. However, with a confusing and ultimately disappointing first act leading to this, it struggles to keep the audience on the edge of their seats.

An at-times confusing, unwieldy adaptation that finally comes good with some gripping second-act scenes.
⭐⭐⭐

Performance reviewed: Tuesday 14th July 2026 at the Milton Keynes Theatre, Milton Keynes.

The Spy Who Came in From the Cold runs at Milton Keynes Theatre until Saturday, 18th July 2026, before continuing its tour.

For further details about Milton Keynes, see their website at https://www.atgtickets.com/venues/milton-keynes-theatre/

For further details of the tour, see the website at https://spyonstage.com/

Photographs: Johan Persson