We live in an age where we are constantly being monitored, whether it’s our phones and smart devices listening to us, or CCTV cameras and facial recognition technology watching us on the high street, yet most of us barely give it a passing thought. In 1980s East Germany, citizens were regularly spied upon too, and anyone who has seen Florian Henckel von Donnersmarck’s Oscar-winning film The Lives of Others will know the implications were far more sinister.
Adapted and directed by Robert Icke, the world premiere stage adaptation of The Lives of Others has opened at the Adelphi Theatre, and it may just be the most exciting new play to arrive in the West End this year.
This stage version follows the plot of the film remarkably closely, making only minor changes towards the end which, if anything, better serve the storytelling. East German playwright Georg Dreyman and his girlfriend, Christa-Maria Sieland, a celebrated actress, are placed under surveillance by the Stasi. Hauptmann Gerd Wiesler has their apartment bugged and listens in from an upstairs room, though he soon begins influencing events rather than remaining a distant observer.
Ostensibly a spy drama, The Lives of Others does not follow the usual path. This is less a thriller driven by action and more a study of conscience, morality and human connection. In a live theatrical setting, that becomes irresistibly compelling.
Leading the cast are Keira Knightley as Christa-Maria Sieland and Luke Thompson as Georg Dreyman. They make a compelling duo, portraying a loving couple whose relationship gradually bristles with nervous energy as suspicion, pressure and betrayal creep in. Knightley in particular delivers a devastatingly moving performance, especially in the scenes where Christa-Maria finds herself trapped between her own desires and the demands of Minister Bruno Hempf. Thompson, meanwhile, brings warmth and intelligence to Dreyman, ensuring his idealism never feels naïve.
Stephen Dillane gives a masterclass in restraint as Wiesler. It is a beautifully measured performance that takes the audience on a genuine journey, never quite revealing where his loyalties lie. As the play progresses, Dillane subtly alters his physicality, becoming quieter, slower and more burdened as the consequences of Wiesler’s actions weigh ever more heavily upon him.
But perhaps the real star of the show is Hildegard Bechtler’s extraordinary set design. Dreyman’s authentic-looking apartment rotates at varying speeds depending on the emotional temperature of the scene, allowing the audience to peer voyeuristically into every room. Accompanied by Max Richter’s haunting original score, the effect is both intimate and cinematic, creating a constant sense that somebody, somewhere, is always watching.
Robert Icke’s fondness for live camera work is significantly pared back here, meaning its occasional use lands with genuine impact rather than feeling gimmicky. It is especially effective during the interrogation scenes, where an actor faces away from the audience while a stark black-and-white close-up is projected above them. Icke’s direction is expertly judged throughout, but the most striking moments come when Dillane’s Wiesler appears to step beyond the boundaries of observation and seemingly enter the world of the people he is spying upon.
Translating a hugely successful foreign-language film for the British stage can have been no easy task, yet The Lives of Others succeeds on every level. Combining psychological tension, exceptional performances and visually arresting stagecraft, it is a truly unmissable piece of theatre that keeps its audience gripped from start to finish.
Listings and ticket information can be found here
