1984

This UK production by Robert Icke and Duncan Macmillan is brilliant in its adaptation and brilliant in its execution. George Orwell’s prescient dystopian future depicted in his 1949 novel has proved to be horrifyingly accurate in many societies since it was written and even more so today in an age of the internet and revelations about secret surveillance. Winston Smith (Tom Conroy), the central character frequently asks “where am I?” and the audience at times could well ask the same question as past, present and future are mixed in this chillingly effective multi-media version of Orwell’s vision.

Smith is shown working for the “Ministry of Truth” trapped in a dreary day job turning “thought criminals” into “unpersons”, but secretly criticising “Big Brother” and all that it stands for. Rebelliously he embarks on a forbidden love affair with Julia (Ursula Mills), who he initially thinks is a covert member of the “Thought Police”. Their intimacy in a private room, which is viewed on the upper-half rear wall of the set, becomes chillingly voyeuristic for the audience. “Big Brother is watching over you” was never more clearly articulated.

Foolishly putting his trust in the manipulative and slippery O’Brien (Terence Crawford), Smith ultimately ends up in the feared Room 101 where he is continually tortured by a group of white clad faceless figures and finally betrays his beliefs to stay alive. Chloe Lamford’s set design comes into its own following Smith and Julia’s arrest when the dreary office/library set is stripped away to reveal an intensely white hot Room 101 which is alive with foreboding.

Fear, subtle or full-on (especially in the torture scenes) permeates this production which is enhanced by the excellent sound effects (Tom Gibbons), lighting (Natasha Chivers) and video (Tim Reid). It’s stark, disturbing and totally gripping theatre.

Peter Pinne

Photographer: Shane Reid