Pack of Lies

“Pack of Lies” is a compelling play by Hugh Whitemore, first premiered in 1983 and inspired by real events from the early 1960s. The play is based on the true story of the Jacksons, an ordinary London couple who unwittingly found themselves at the centre of a Cold War espionage scandal. Their neighbours, Helen and Peter Kroger, were, in fact, Soviet spies, and the Jacksons’ home was commandeered by MI5 to observe their friends in the quiet suburb of Ruislip.

From the moment the curtain rose, the Waterbeach Theatre Company demonstrated their keen attention to detail. The set design (Mark Easterfield & Jane Boden) was a triumph, perfectly evoking a typical 1960s North London home. The space was cleverly divided, with full bay windows and net curtains stage right, a partition distinguishing the lounge from the kitchen, and doors from each room leading through to the hallway. The kitchen, complete with a yellow and blue melamine units, was furnished with period-appropriate utensils and a purpose-built fridge that even boasted internal lighting. The lounge featured a sofa that seemed lifted straight from the era, while a staircase through the kitchen door—prominently used throughout the play—added further realism. The set’s authenticity was so striking that I found myself sketching its layout, inspired by its ingenuity for future reference. This meticulous approach to detail on the set not only grounded the narrative in its historical period but also enhanced the audience’s immersion from the outset.

At the heart of the story are Bob and Barbara Jackson, played with remarkable subtlety and depth by Michael Husband and Wendy Croft. Michael’s portrayal of Bob—an unremarkable man leading an unremarkable life—was thoroughly convincing. He maintained the character’s understated integrity throughout, culminating in a moving final speech that left a lump in my throat. Wendy’s Barbara was equally compelling; initially reserved and dutiful, she gradually revealed the emotional turmoil wrought by suspicion and intrusion. Her nuanced performance, marked by gentle shifts in tone and demeanour, drew powerful empathy from the audience as Barbara’s world unravelled. Wendy’s performance was beautifully understated. I couldn’t help but feel her very raw emotion that broke out later in Act Two. Wendy was the real highlight of this play.

The role of Julie Jackson, played by Graihagh Bolton, was equally a highlight. Portraying the Jacksons’ teenage daughter, Graihagh convincingly navigated the confusion and distress that beset a young woman witnessing her family’s upheaval. Her naturalistic approach marked her as a talent to watch.

Christine Easterfield delivered a standout performance as Helen Kroger, the vivacious Canadian neighbour whose charm and extroversion masked a double life. Christine’s interpretation balanced effervescence and credibility, never tipping into caricature. Joe McWilliams provided effective support as Peter Kroger, capturing the brashness of his character, though his North American accent occasionally wavered.

The arrival of Mr Stewart, the MI5 operative, played by Nick Gulvin, brought a dry wit and procedural gravity to the proceedings. His clipped delivery and understated presence were precisely judged. Supporting roles from Peri Tsim and Chloe Martin as MI5 operatives Thelma and Sally added further texture, their cameo appearances where both handled with confidence.

Whitemore’s script is dialogue heavy, and while the play’s verbosity was not necessarily my thing, the Waterbeach Players handled the material with assurance and clarity. The director, Martin George, assisted by David Morris, orchestrated a strong sense of pacing and cohesion, ensuring that the tension steadily mounted without resorting to melodrama. This was a robust and intelligent staging of a challenging play.

The Waterbeach Theatre Company should be commended for their commitment to authenticity, both in design and performance. Under Martin’s direction, the cast and creative team delivered an evening of thought-provoking theatre, reminding us of the fragility of ordinary lives caught in extraordinary circumstances. Well done to all involved.

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