Everyman Theatre, Cheltenham – until 22nd August 2026
Reviewed by Jacqui Radford
4****
This adaptation of Graham Greene’s novel, ‘Our Man in Havana’, is Clive Francis’ cheeky interpretation of a novel that has plenty of black humour and satire for inspiration. The play is an unnerving blend of political jitters and absurd espionage techniques brought to life by a small cast of four playing more than thirty characters. As an audience member, you need all your powers of observation about you but that adds to the experience.
We follow Jim Wormold (Jack Ashton), a vacuum-cleaner salesman, surprisingly recruited by MI6 agent Hawthorne (Bob Barrett) as a spy in Cuba. As a widower, he is persuaded to sign himself up by his determination to provide everything imaginable for his daughter, Milly (Jodie Steele). Following a chat with a German friend, he is drawn to the idea of inventing agents and providing increasingly absurd profiles to MI6 to build his income. In today’s terms that might be considered money laundering. His absurd ideas and stories feed the comedy moments in the production that have the audience enraptured. Jack Ashton nailed the art of portraying a rabbit in the headlights.
The many other characters around Wormold, Hawthorne and Milly are deftly played by just three other performers (Bob Barrett, Jodie Steele, Leon Ockenden). Bob Barrett brings wit to every character he plays; his most noteworthy being that of Teresa, a night club worker. Leon Ockenden adds to the comedy with his flamboyant expression; be that handyman, bank manager or pillar of the community. Jodie steals the show with her costume changes, exaggerated comedic expression and portrayal of ridiculous enthusiasm for the high life.
Our Man in Havana celebrates imagination, invention and the mess that ensues when an ordinary man tells one little lie. Woven through all the laughter is a nod to Greene’s own experience with MI5 during the Second World War; the absurdity of intelligence gathering, political bluster and the ease of it almost becoming fact.
This production cleverly highlights the dangers of a political situation becoming a farce, which feels highly relevant in the present climate. In all honesty, the overriding feeling at the end of the show is a sense of wonder at the interpretation of a 1950s novel that bears such relevance to our current political climate. The applause and appreciation from the audience at the end of this production spoke volumes and for me, it reminded me that literature classics are not always as stuffy as you’d imagine.