Keira Knightley and Luke Thompson will star in a new stage adaptation of The Lives of Others at the Adelphi Theatre in London, with performances beginning 14 October. Directed by Robert Icke, the production brings the 2006 film’s story of East German Stasi surveillance to the West End, featuring a score by Max Richter and a revolving stage design.
Staging Surveillance at the Adelphi Theatre
The play centers on the 1984 East Berlin surveillance state, following the story of a theater actor, Christa-Maria (Knightley), and her partner, a director named Georg (Thompson), who are monitored by a Stasi officer, Wiesler (Stephen Dillane). According to The Guardian, the production utilizes a revolving stage to allow the audience to view the targets and the eavesdropper simultaneously. Thompson noted that the play functions like a technical set-piece, describing the experience as "almost musical" in its coordination.
The use of video technology remains a key element of Icke’s directorial style. While Thompson acknowledged that video can sometimes feel like a gimmick, he stated it is essential for this production because the narrative is fundamentally about the nature of being watched.
Parallels to Modern Privacy
The cast and production team have discussed how modern surveillance contrasts with the era depicted in the play. Knightley told The Guardian that while people often welcome surveillance for safety, the question of who is actually watching remains a concern. She drew on her own experience as a public figure during the phone-hacking scandals of the mid-2000s, noting that the characters in the play exist in a state of uncertainty regarding if and when they are being monitored.
Thompson pointed out the efficiency of the Stasi method, noting that the most effective form of surveillance is one where citizens are encouraged to monitor one another. This internal pressure to self-censor is a central theme in the adaptation, which the cast explored through reading Stasiland by Anna Funder.
Perspectives on the 2006 Source Material
The original film, directed by Florian Henckel von Donnersmarck, has faced varied criticism since its release. Author Anna Funder has previously argued that the film provides a "fantasy narrative" that fails to accurately depict the realities of the GDR dictatorship, suggesting it leaves too much room for characters to act with humanity in a system designed to prevent it.
Conversely, the film has been cited as a catalyst for real-world change. In 2014, Israeli military intelligence veterans referenced the film when they refused to participate in state actions against Palestinians, identifying with the film’s depiction of oppressive intelligence systems. Regarding the stage adaptation, Thompson emphasized that the goal is not to present a one-sided political statement. "If what audiences take from the play is ‘Communists are awful,’ then I’d feel like we’d failed," he said.
Production Details and Audience Rules
The production is scheduled for a strictly limited run at the Adelphi Theatre. Tickets for the show reach up to £225. Knightley and Thompson addressed the trend of audience phone use during performances, noting that while they generally trust audiences to follow rules, there remains a strong social pressure against disruptions.
The play also features a new score by Max Richter. While Thompson was initially hesitant to confirm the use of the score during rehearsals, Knightley confirmed that the music is integrated into their current practice sessions.
Frequently Asked Questions
When does the production open in London?
Performances are scheduled to begin on 14 October, with the production running at the Adelphi Theatre through 9 January.
What is the primary difference between the film and this play?
The play uses a revolving stage to show the audience the spied-upon characters and the Stasi officer at the same time, which Thompson noted creates a more direct, voyeuristic experience compared to the barrier of a film screen.
Who is writing and directing the adaptation?
The production is written and directed by Robert Icke, known for his previous work on stage adaptations including 1984, Hamlet, and Oedipus.
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