Review: The Lives Of Others (Adelphi Theatre)

Review by Daz Gale

⭐️⭐️⭐️⭐️

The promise of seeing a big Hollywood movie star on a West End stage is always a draw for West End audiences and a great way to bring more people to the theatre, even if it shouldn’t be the main reason to attend a show. It isn’t always a guarantee for quality, however, with some performers who are always outstanding on screen failing to make quite the same impact on stage, as many saw with one or two shocking failures in recent years. My hope was that wouldn’t be the case for Keira Knightley’s return to the stage in the world premiere stage adaptation of The Lives of Others, though she is just one of many cogs in this production, and the promise of the adaptation itself is equally, if not more, exciting. After winning critical acclaim for its Academy Award-winning film, could this play equally come alive in another medium?

Florian Henckel von Donnersmarck’s film, The Lives of Others, premiered twenty years ago, in 2006, and now hits the stage for the very first time. Set in East Germany in 1984, writer Georg and his actor girlfriend Christa-Maria are placed under state surveillance. Above their apartment, a Stasi man listens in on everything they are doing, waiting to find evidence of subversion. However, he finds himself getting more invested than expected and risks changing his own life in the process.

The Lives of Others packs in many intriguing themes. Returning to a snapshot of history where Germany was divided and the state dictated what could or couldn’t be done exploring surveillance, freedom of speech and how much control politics should have on art can both be looked at as a harrowing life lesson from a time that no longer exists in some places, while drawing obvious comparisons with other places in the world where it is still prevalent. The integral theme of censorship and control makes for a gripping and thought-provoking watch - given that the original film took place 22 years after the events in the story, and this stage adaptation adds a further 20 on to that timeframe, it feels poignant at how disturbing and sadly relevant some of the themes in the story still are.

The man responsible for the stage adaptation is Robert Icke, who directs the production with style, leading to a slick and stylish watch. Visually, The Lives of Others is stunning, with Hildegard Bechtler’s set design seemingly knowing no limits with its never-ending reveals. Icke uses this to his advantage, using an abundance of creativity to transform the stage constantly, bringing a new element into the mix just when you think you’ve seen it all. With a revolve in place, Icke is meticulous in his choices, ensuring everyone is always where they need to be and conveying the desired emotion to maximum impact. At times, it can prove a slightly unconventional watch, with house lights staying on in parts, and even the climax leading into the curtain call, refusing to follow convention, and feeling rather unique in the process. It is certainly a bold approach and one that may prove divisive to some, but it pays off, for the most part, leading to a continually thrilling watch.

One visual element that works remarkably well is the use of live filming. Some may moan this has been overdone in recent years, but The Lives of Others is an example of when it can be used to add to a production as opposed to being there just for the sake of it, or being reduced to a novelty. Tal Yarden’s video design uses this live element sporadically, in a clever example of the surveillance in the story. With every movement being recorded, there is an unnerving and unsettling quality to a character closing a bathroom door only for a camera to expose them close up, heightening the sense of voyeurism prevalent in the narrative. Another example of Icke’s thrilling direction is the way the transparent walls suddenly go dark whenever the Stasi man removes his headphones. Often when a film is adapted for the stage, the question emerges of whether it will work as well in this new medium and make the most of the tools at its disposal. This production is a strong example of how to use this in a way that both stays true to the essence of the story while adding new elements that only go to elevate it.

Earlier in this review, I remarked that not all Hollywood actors proved just as strong on stage, but thankfully this is not the case for Keira Knightley. As Christa-Maria Sieland, Knightley is astonishing with her ability to go from one extreme to another, always convincingly. This is a performance of extremities, and when it reaches its most dire moments, Knightley is completely riveting in portraying this, delivering an urgent and authentic performance that demonstrates why she has gone on to have such an impressive career in movies, even being nominated for an Academy Award in the process.

Though Knightley may be a big draw in this production, it is the other two cast members on the poster that dominate the show through stage time. The standout is undoubtedly Luke Thompson as Georg Dreyman, delivering a mesmerising performance that provides the glue holding the story together. Through his scenes with Knightley and the various members of the wider cast he interacts with, there is always an electricity in his dynamic and a natural chemistry, resulting in a wonderfully rich portrayal I daren’t take my eyes away from.

Stephen Dillane is interesting in his performance as Gerd Wiesler. It is a complex character that calls for a nervy portrayal with a touch of ambiguity as his conflicted nature is a crucial element of the story. To that end, it is hard to know where Dillane ends and Wiesler begins, which should be the highest compliment to him. However, it was clear that he was not at his best in the performance I attended, tripping over far too many lines and losing his timing too often which resulted in continual interruptions of his co-stars. At first, I wondered if this was deliberate but it became increasingly awkward - I am sure he was just having an off night for whatever reason, but it did sadly detract from an otherwise phenomenal production.

Running at two hours without an interval, The Lives of Others is certainly a demanding and possibly even an exhausting watch. I must admit to being less than enthralled for the first ten minutes or so, expecting the subsequent time to drag. Patience pays off with this production, however, and I soon found myself gripped. Two fantastic lead performances from Keira Knightley and Luke Thompson are enough to make this production the talk of the town, but it is Robert Icke who is the biggest star of this show. The execution of his inspired, bold and brash vision brings an identity that can’t be seen anywhere else in the West End - with his refusal to comply with convention, The Lives of Others is a fascinating, urgent and thought-provoking watch that looks back at history while being unafraid to draw comparisons to more recent events. The result is a slick and stylish production that acts as a breath of fresh air in the West End and shows exactly how adapting a movie for the stage can be done with such finesse.

The Lives of Others plays at the Adelphi Theatre until 9th January 2027. Tickets from https://allthatdazzles.londontheatredirect.com/play/the-lives-of-others-tickets

Photos by Pamela Raith (first photo) and Manuel Harlan (2, 3 and 4)