A commendable adaptation, slowly but surely evoking the creeping tension in Graham Greene’s tale of espionage

What is the German for Les Mis? Because this musical reworking of The Third Man seems to be attempting to cut itself from the same cloth (Die Elenden, if you're still wondering). Like the Graham Greene book on which it’s based, the story is set on the grim streets of post-war Vienna (1947), with its ragged citizens hungrily circling the monochrome set, practically mimicking the poor, wretched Parisians who trudge round on a revolve singing ‘Look Down’ in the renowned Schönberg musical.

Here, though, to the familiar and iconic strains of the theme tune from the 1949 film, they surround protagonist Holly Martins (Sam Underwood), a writer of potboiler American thrillers, who’s come to Vienna seeking his missing bestie Harry Lime. Given that the opening scene also includes a funeral, homing in on the lowering of a coffin into its grave and a grieving girlfriend (blonde nightclub singer Anna, played by the affecting Natalie Dunne), there’s not much cause for optimism about Harry’s fate.

There’s no credit in the programme for the role of Harry and the list of Company members ‘playing everybody else’ gives nothing away, but if you’ve read the book or seen the film, you'll be privy to the plot mystery. From my POV, the tension and intrigue were altogether more dramatic for those in the dark.

Speaking of the dark, Paul Farnsworth’s set, with its hazardous piles of rubble and broken furniture, nods to the black-and-white movie with a wash of monochrome and costumes to match (also Farnsworth). The only colour is reserved for the rich vermilion curtains of the nightclub where Anna performs, and the scarlet satin gown in which she's clad. Emma Chapman’s largely low-level lighting adds wonderfully to the gloomy atmosphere and feeling of post-war poverty.

The creative team on this is absolutely stellar (directed by Trevor Nunn), but does it work as a musical? Yes, mostly. In part, thanks to the inclusion of the famous film score, played by an onstage zither at least once. And George Fenton's music is evocative, with enough of a period feel to complement the sombre set. Sometimes the lyrics are playful, as no doubt intended. Rhyming with ‘crime' and ‘slime’ may come across as simplistic, but it works well enough here. The Tony Award-winning team of Jewish lyricist Don Black and playwright Christopher Hampton, who are responsible for 'Born Free', three Bond themes, and adaptations of Dangerous Liaisons and Atonement between them, have perhaps done more elsewhere, but this does do the business.

That said, The Third Man is intriguing enough to attract an audience of Greene aficionados, who likely won’t be disappointed, and it plays well in the Menier’s intimate space. For my part, I’ve been inspired to buy the book and am gearing up to rewatch the film.

By Judi Herman

Photos by Manuel Harlan

The Third Man runs until Tuesday 5 September. 7.30pm, 3pm (Sat & Sun only). From £30. Menier Chocolate Factory, London, SE1 1RU. 020 7378 1713. menierchocolatefactory.com