1984

The artistic directors of Shake & Stir, Nelle Lee and Nick Skubij, bring Big Brother back to the stage in a very faithful and confronting production. As a nationally recognised Australian touring theatre company Shake & Stir have produced a wide range of productions and literary adaptations. This production is a very faithful adaptation of the book and preserves not only its main themes but also the atmosphere of the very grim dystopian future the novel depicts and predicts.

1984 continues to resonate with readers and audiences alike because of the incredible relevance of its notion of the abuse of technology in the service of totalitarian systems of government. Orwell’s famous quote of “Power is not a means; it is an end” is fiercely reiterated in this production. The almost sociopathic portrayal of the villains in this stage version are conceived as slavishly and unabashedly dedicated to the mere pursuit of power. The set design (Josh McIntosh), sound (Guy Webster), and lighting (Jason Glenwright) all work cohesively to powerfully convey the inherent bleakness of 1984.

This highlights the horrific elements of the story where Winston Smith (Michael Whalley) becomes a victim of the thought police. Whalley appropriately brings a very intense approach to the character. His spiritual decline is incredibly evident in the way fatigue and demoralisation are so clearly and vehemently written across his face. The extremely explicit scenes of his torture and facing his worst fear in Room 101 accentuate the terrifying scenarios that clearly haunt Orwell’s imagination. This effectively shows the extent of the combined physical and psychological impact of such an oppressive regime.

The issues of intrusive surveillance systems, manipulation of official information and the hijacking of the truth have enormous contemporary relevance. More overt or direct reference to the way contemporary society is living some of this nightmare seems more warranted. This could also permit a stronger connection between the book and current geo-political, social and technological realities. To some extent it seems like the production has missed an opportunity to suggest that we are already in 1984.

The ensemble of actors is extremely strong, and each member provides a very compelling performance. The execution of the action and the use of video recordings and CCTV footage (Craig Wilkinson) is also delivered with precision and inventiveness and altogether this makes for a very gripping show. 

Patricia Di Risio

Photographer: Joel Devereux