By Rachel Jones. Images: Jack Merriman.
Star rating: 5/5
There is an old theatrical saying that limitations breed creativity, and Salisbury Playhouse’s production of Our Man in Havana is proof of exactly that. Graham Greene’s Cold War satire, part espionage thriller, part political farce and part family drama, is brought vividly to life with just four actors, an ingenious set and a production bursting with imagination.
What could have become a complicated tale instead unfolds with clarity, humour and infectious theatrical energy.
As the audience settled into their seats, the atmosphere already hinted at the evening ahead. Alongside those dressed for a traditional night at the theatre were audience members embracing the spirit of Havana in bright, colourful shirts. It was a fitting prelude to a production full of warmth, wit and vibrant personality.
Director and designer place absolute faith in the audience’s imagination. Rather than relying on elaborate scenery, the set transforms almost magically before our eyes. Walls reveal hidden entrances, furniture glides silently into place and entire locations appear and disappear in moments. Havana’s streets, cafés, homes and government offices are conjured with remarkable simplicity, creating a production that feels almost cinematic in its flow.
The real triumph, however, belongs to the cast.
With only four performers portraying dozens of characters, the sheer technical skill on display is extraordinary. Costume changes happen in the blink of an eye, yet each new character arrives fully formed through subtle adjustments in movement, posture, accent and expression. Never once does the audience lose track of who is who, a remarkable achievement given the speed at which the action unfolds.
The adaptation embraces Greene’s episodic storytelling by presenting the action as a series of short scenes, connected by the actors stepping into the role of “Voices” to narrate events. The technique could easily have felt disjointed, but instead it gives the production the pace of a film, carrying the audience effortlessly through a story filled with mistaken identities, political absurdity and escalating deception.
Comedy is undoubtedly one of the show’s greatest strengths.
The comic timing is razor sharp, with every pause and perfectly delivered line earning waves of laughter from the audience. Particularly memorable are the moments when the male actors don drag to portray a variety of female characters, from the formidable nuns at Milly’s school to an unforgettable appearance by the Queen.
These performances are never treated as caricature; instead, they are played with complete commitment, making them all the funnier.
Yet beneath the laughter lies Greene’s biting satire.
Written during the Cold War, Our Man in Havana explores the absurdity of espionage, bureaucracy and political paranoia, themes that still feel surprisingly relevant today. Salisbury Playhouse wisely allows these ideas to emerge naturally through the comedy rather than labouring them, trusting the audience to recognise the darker truths beneath the humour.
Perhaps the greatest compliment that can be paid to this production is that you quickly forget the mechanics behind it. You stop noticing the quick changes, the moving scenery and the actors juggling multiple roles because you become completely immersed in the story.
That is the mark of theatre at its very best.
Our Man in Havana is an inventive, fast-paced and consistently entertaining evening that showcases exactly what live theatre can achieve through imagination rather than extravagance. It is witty without becoming flippant, stylish without feeling self-conscious and packed with performances that are as technically impressive as they are immensely enjoyable.
A clever adaptation, superbly acted and joyfully staged, this is Salisbury Playhouse at its creative best.
- Our Man in Havana runs at Salisbury Playhouse until Saturday. For tickets and more information, visit wiltshirecreative.co.uk
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