‘1984’ review
‘real ingenuity, creativity and flair’; ‘immersive atmosphere’
George Orwell’s 1984, since its release in the rubble of a shattered and paranoid world, has entrenched itself essentially into political narratives and pop culture. ‘Big Brother is watching you’, ‘ignorance is strength’; these are phrases and ideas seared into public consciousness to critique authoritarianism however it manifests itself, and many artists and writers have since tried to adapt its story to a modern era, capturing its prescience and cruelty in a way that encourages us to reflect on our own freedoms.
There are moments of real inspiration and flair throughout First Theatre Company’s production. Sebastien Bate’s O’Brien becomes genuinely nasty at points, his stage presence carrying a disconcerting burden. Maia Tollner steals every scene she’s in, giving an impassioned and vivid performance in her various roles, which become more substantial here. She conveys the horror of Room 101 with blood-curdling realism, embodying the show-not-tell idiom to a tee. River Blatch, in their various multi rules, does a fantastic job capturing the various emotions and desires of her characters despite their limited stage time, which contributes greatly to the immersive atmosphere. Leila Dubik’s set also shines, especially in the second act; the torture device looks pretty real even from close up, with its skulking serpentine wires emitting nothing but ill. The lighting comes into its own during the torture scene, flashing at moments of cruelty - that pulsing electricity - for which Adams Yeung and Katie Hine warrant thorough praise.
Unfortunately, the cast and production team of this production are hamstrung somewhat by Nick Hern’s script’s Hamletian first act where the context of Winston Smith’s imprisonment and torture are played out as a play within a play, with Winston and O’Brien looking on with dramatic impotency. This sub-play is performed well however, by Noah Lazarides and Kalypso Panagiotou as Winston 2 and Julia; Lazarides has superb comic timing, tact and authenticity throughout, and Panagiotou shines as the happy-go-lucky, rebellious Julia. She subtly encapsulates Julia’s privileged naivety and irresistible charm, and feels vividly real in the moments of space she’s allowed to shine. They’re aided in this experience by Sebastian Bate’s O’Brien, who is excellent in his despotic flair and bureaucratic cruelty, holding together the somewhat confusing elements of Hern’s script with tangible authority. The sound design has some very inspired elements to it, too. I love when plays really utilise the potential for sound to shape atmosphere and tone, and Production Manager Hamish Campbell, assisted by Luna Oladiji and Sound Designer Shane-Brannigan Davies, utilises this excellently.
However, the use of projection, whilst a brave and exciting choice for the Assembly Rooms Theatre, is not executed to its full potential. Some of the images are either unnecessary, or derivative enough to take one out of the theatrical immersion, and thus detract from the far more impactful and authentic signs baring quotes of the party hung from the fly. Not to be a luddite, but I would have preferred these material paintings, which illustrate the artistic talent and ingenuity of DST’s designers, to take centre stage over the screen.
There are instances in the second act where Pearl D’Souza and Billie Switonski’s directing is effective - such as O’Brien’s blocking and the startling frigidness of ensemble movement. The robotic coldness and callousness of the movement effectively encapsulates the soulless, bureaucratic horror of Big Brother, and is very rarely let slip. However, some of these moments are undercut by slightly sloppy timing and proxemics, where the delivery is lost within the stage. Moreover, the final scene, where Winston and Julia meet in a cafe and confess their mutual betrayal, contains arguably disconcerting characterisation. Winston, played by Cillian Knowles, seems almost senseless, and his final, impassioned declaration of love as such loses thematic impact; the party hasn’t re-shaped him to a subservient citizen, they’ve just hurt him beyond repair. Nevertheless, Knowles exhibits real technical skill as a performer, capturing a complex character arc with nuance and power when called upon.
Overall, 1984 shows flashes of real ingenuity, creativity and flair but doesn’t quite maintain tension or sincerity to allow these flashes to reach their full potential. Nevertheless, for fans of political drama and dystopian fiction, it would doubtless remain an interesting watch.
By Horatio Holloway.
1984 is showing at the Sir Thomas Allen Assembly Rooms Theatre on Saturday 30th November, at 19:30.