*Almeida, London*
The fierce intelligence of the Almeida, Headlong and Nottingham Playhouse's spin on George Orwell shines through - but the play contributes to a worrying theatrical trend
It is no mean feat to offer a new perspective on a familiar work. That, however, is what Robert Icke and Duncan Macmillan, as joint creators of this new version of George Orwell's famous novel, have ingeniously done. But, while this co-production between the Almeida, Headlong and Nottingham Playhouse makes exciting viewing, it also raises a nagging concern.
The big innovation is to treat Orwell's appendix on the Principles of Newspeak as a vital part of the story. So this version is book-ended by a discussion, taking place some time after 2050, about the meaning and authenticity of the text. Is Winston Smith's account of the Party and its attempt to control our thought-processes the work of an unreliable narrator? Or is it an historical record of life in 1984 before the downfall of the Party and its desire for domination? The beauty of the framing device is that it assumes change is possible, and that we ourselves have to take responsibility for resisting the erosion of individual liberty.
While raising serious questions, Icke and Macmillan distil Orwell's core dystopian narrative with great skill. Winston's defiance of Big Brother through his subversive love for his fellow protester, Julia, are explored in rich detail. Chloe Lamford's design starts in a drably institutional world and opens up to disclose a white-walled state torture-machine that operates as a tabula rasa.
The lighting, sound and video design by, respectively, Natasha Chivers, Tom Gibbons and Tim Reid both shock the senses and achieve swift transitions between past, present and future. And there is some fine acting by Mark Arends whose gaunt, attenuated Winston is eerily reminiscent of Orwell himself, by Hara Yannas as the sensuous Julia, and by Tim Dutton, whose bland-seeming O'Brien becomes the ultimate organisation man.
But, much as I admire the fierce intelligence behind this adaptation, I have a wider concern. There is a long line of work, from War Horse and The Curious Incident of the Dog in the Night-Time, to Let the Right One In and American Psycho, which suggests that our increasingly interpretative theatre is drawing its strength from new versions of existing books and films. Some of these productions are remarkable. So, too, is this 1984. While I know that the Almeida has two new plays in the pipeline, I worry that the theatre is rapidly becoming a place of dramatisations rather than original drama.
• Did you catch this show – or any other recently? Tell us about it using #gdnreview
Rating: 4/5 Reported by guardian.co.uk 3 days ago.
The fierce intelligence of the Almeida, Headlong and Nottingham Playhouse's spin on George Orwell shines through - but the play contributes to a worrying theatrical trend
It is no mean feat to offer a new perspective on a familiar work. That, however, is what Robert Icke and Duncan Macmillan, as joint creators of this new version of George Orwell's famous novel, have ingeniously done. But, while this co-production between the Almeida, Headlong and Nottingham Playhouse makes exciting viewing, it also raises a nagging concern.
The big innovation is to treat Orwell's appendix on the Principles of Newspeak as a vital part of the story. So this version is book-ended by a discussion, taking place some time after 2050, about the meaning and authenticity of the text. Is Winston Smith's account of the Party and its attempt to control our thought-processes the work of an unreliable narrator? Or is it an historical record of life in 1984 before the downfall of the Party and its desire for domination? The beauty of the framing device is that it assumes change is possible, and that we ourselves have to take responsibility for resisting the erosion of individual liberty.
While raising serious questions, Icke and Macmillan distil Orwell's core dystopian narrative with great skill. Winston's defiance of Big Brother through his subversive love for his fellow protester, Julia, are explored in rich detail. Chloe Lamford's design starts in a drably institutional world and opens up to disclose a white-walled state torture-machine that operates as a tabula rasa.
The lighting, sound and video design by, respectively, Natasha Chivers, Tom Gibbons and Tim Reid both shock the senses and achieve swift transitions between past, present and future. And there is some fine acting by Mark Arends whose gaunt, attenuated Winston is eerily reminiscent of Orwell himself, by Hara Yannas as the sensuous Julia, and by Tim Dutton, whose bland-seeming O'Brien becomes the ultimate organisation man.
But, much as I admire the fierce intelligence behind this adaptation, I have a wider concern. There is a long line of work, from War Horse and The Curious Incident of the Dog in the Night-Time, to Let the Right One In and American Psycho, which suggests that our increasingly interpretative theatre is drawing its strength from new versions of existing books and films. Some of these productions are remarkable. So, too, is this 1984. While I know that the Almeida has two new plays in the pipeline, I worry that the theatre is rapidly becoming a place of dramatisations rather than original drama.
• Did you catch this show – or any other recently? Tell us about it using #gdnreview
Rating: 4/5 Reported by guardian.co.uk 3 days ago.