Cambridge Arts Theatre – until Sat 5th September 2026
Reviewed by Steph Lott
5*****
Graham Greene’s classic spy novel “Our Man in Havana” is a satire of Cold War espionage — and this theatrical adaptation at the Cambridge Arts Theatre proves it translates brilliantly to the stage. Clive Francis’s adaptation works really well, capturing the novel’s wit and worldliness for a live audience. What unfolds is a fast-paced, very funny romp that celebrates the sheer fun of theatrical storytelling.
Director Philip Wilson deserves particular credit for the production’s slick energy. His direction maintains a zippy pace throughout, but it’s the lovely little touches of physical humour that truly shine. The four-person cast — Jack Ashton, Bob Barrett, Leon Ockenden and Jodie Steele — don’t merely walk across the stage; they swirl, pirouette and sashay with infectious theatrical flair. This physical comedy adds an extra layer of entertainment to an already engaging production.
There are a lot of theatrical sleights of hand. The small cast performs an impressive feat, playing multiple characters with rapid costume changes and nimble rearrangements of scenery, keeping the audience perpetually on their toes. Julie Godfrey’s set and costume design deserves praise for its effectiveness — she transports us to 1950s Havana, creating atmosphere through clever use of minimal elements that complement rather than compete with the actors’ performances.
The production’s opening moments were a bit tricky. The actors initially speak at such breakneck speed that you struggle to follow who’s who, what’s happening, and what’s being said. It’s disorienting rather than exhilarating, and you worry the entire evening will leave you bewildered. Thankfully, they quickly settle into a more measured rhythm, finding a pace that maintains the zippiness without sacrificing clarity. By the time Wormold’s predicament becomes clear, you’re entirely invested.
The heart of the play — and its funniest moments — belongs to Jim Wormold’s increasingly elaborate fabrications. Desperate for money and cornered by his intelligence handlers, he simply invents the spies and operations they’re demanding from him. Watching him construct these fictional agents, complete with absurd details and wildly implausible scenarios, is comedy gold. The cast milks these scenes for every laugh, and the audience responds enthusiastically. There’s something deeply satisfying about watching a bumbling vacuum cleaner salesman outwit the entire British intelligence apparatus through pure invention and bluffing.
I also appreciated though how the cast navigated the point at which the story takes a dark turn. There are some serious issues at play which were well handled.
What emerges is a thoroughly entertaining evening of theatre. The cast’s obvious enjoyment is contagious, and their dextrous juggling of multiple roles demonstrates real theatrical craftsmanship.
If you enjoy a satirical romp that doesn’t take itself too seriously, this is well worth your time. It’s a slick, satisfying evening that proves Greene’s satirical masterpiece remains as amusing as ever.