Keira Knightley and Luke Thompson in The Lives of Others [Pamela Raith]

DURING times of repression, writers and artists are often in the front line because they can transcend propaganda and articulate truths. Robert Icke’s bold stage adaptation of Florian Henckel von Donnersmarck’s 2006 film The Lives of Others lays bare the devastating effect of the GDR’s mass surveillance of its people during the Cold War.

Set in East Berlin in 1984, the play follows Stasi captain Gerd Wiesler (Stephen Dillane), who is instructed to monitor playwright Georg Dreyman (Luke Thompson) and his actress partner Christa-Maria Sieland (Keira Knightley).

Neither is particularly subversive, but they mix with creative people deemed dangerous to the state. We learn that Christa-Maria has caught the eye of a powerful party official, Hempf (Andrew Woodall), whom she sleeps with to protect her career.

Wiesler listens for evidence of dissent, but finds himself instead moved by Christa-Maria’s predicament, the couple’s compassion and their love of art.

The play opens with a brutal interrogation scene lasting 40 hours, quickly establishing the climate of fear. Friends and neighbours are persuaded to inform on each other to save their own skins.

It’s hard to fault Dillane’s pitch-perfect performance. Thompson captures Georg’s transition from passivity to active resistance. Knightley brings the charisma of a star actress, but is a little reserved on stage and has more presence in the projected film clips.

Hildegard Bechtler’s revolving set places Christa-Maria and Georg’s home centre stage, where most of the action takes place. Wiesler sits at his desk inside the apartment with his recording equipment, unseen by the couple. Jon Clark’s lighting allows us glimpses of scenes behind closed doors, while Giles Thomas’ sound and Max Richter’s original music build tension.

Although lacking the emotional impact of the film, Icke’s production is eloquently staged, its ending visually striking.

Until January 9, 2027
thelivesofothersplay.com