This is Nottingham -- From the opening thirty seconds of this play I knew it was doing something tantalisingly different. To adapt a novel, so respected in the canon of English Literature, and one which – judging from the number of young people in the audience – is the cornerstone of A-level literature courses, into just one hour forty minutes, is a daunting feat for any seasoned director. But, just as Orwell himself may have wanted, this play doesn't just try and accurately tell the story of 1984, it takes it forward too, so much so that the audience leaves wondering whether 'The Party' in George Orwell's brutal totalitarian state was ever usurped, and, rather more chillingly, whether we're all still living a version of the Big Brother nightmare today. Without taking anything away from the skill of the actors – all of whom performed their roles impeccably – it was the vision of the award-winning artistic directors Robert Icke and Duncan Macmillan who, in my view, really make this play sing. Unlike the novel, the play begins with people sat around a table discussing a text, which we initially assume to be Orwell's 1984, although as with many things in the book, and the play, it keeps you guessing, and the text in discussion may well have been the protagonist Winston Smith's diary, or even the secret book of the Brotherhood. These characters from the archetypal middle-class book club then bleed into characters from Orwell's novel, and a few select scenes from the book are played out over and over, each time with a darker foreboding, and the suspense builds. Loud bangs, bright lights keep the pace of the play quick and sharp, and before you know it you're watching one of the more graphic closing scenes when Winston, while spurting blood from his mouth, has his brain electrocuted to rid him of any capability of independent thought. Romantic scenes in the book – such as Winston and his lover Julia's safe-haven in a room above an antiques shop – are cleverly portrayed in the play through the use of hidden cameras, which is a fitting director's touch that makes the audience feel, for a moment, like it's in Big Brother's shoes. The thrill behind this adaptation is that it tells, in true Orwellian style, the story we all love to fear, while also surmising about the future. And finally, as a note of guidance, while I'm sure you can watch the play without having read the text, it will be a more fulfilling experience if you have. 1984 runs at the Nottingham Playhouse until Saturday, September 28. For tickets call 0115 941 9419 or go to nottinghamplayhouse.co.uk.
Reported by This is 4 hours ago.
This is Nottingham -- From the opening thirty seconds of this play I knew it was doing something tantalisingly different. To adapt a novel, so respected in the canon of English Literature, and one which – judging from the number of young people in the audience – is the cornerstone of A-level literature courses, into just one hour forty minutes, is a daunting feat for any seasoned director. But, just as Orwell himself may have wanted, this play doesn't just try and accurately tell the story of 1984, it takes it forward too, so much so that the audience leaves wondering whether 'The Party' in George Orwell's brutal totalitarian state was ever usurped, and, rather more chillingly, whether we're all still living a version of the Big Brother nightmare today. Without taking anything away from the skill of the actors – all of whom performed their roles impeccably – it was the vision of the award-winning artistic directors Robert Icke and Duncan Macmillan who, in my view, really make this play sing. Unlike the novel, the play begins with people sat around a table discussing a text, which we initially assume to be Orwell's 1984, although as with many things in the book, and the play, it keeps you guessing, and the text in discussion may well have been the protagonist Winston Smith's diary, or even the secret book of the Brotherhood. These characters from the archetypal middle-class book club then bleed into characters from Orwell's novel, and a few select scenes from the book are played out over and over, each time with a darker foreboding, and the suspense builds. Loud bangs, bright lights keep the pace of the play quick and sharp, and before you know it you're watching one of the more graphic closing scenes when Winston, while spurting blood from his mouth, has his brain electrocuted to rid him of any capability of independent thought. Romantic scenes in the book – such as Winston and his lover Julia's safe-haven in a room above an antiques shop – are cleverly portrayed in the play through the use of hidden cameras, which is a fitting director's touch that makes the audience feel, for a moment, like it's in Big Brother's shoes. The thrill behind this adaptation is that it tells, in true Orwellian style, the story we all love to fear, while also surmising about the future. And finally, as a note of guidance, while I'm sure you can watch the play without having read the text, it will be a more fulfilling experience if you have. 1984 runs at the Nottingham Playhouse until Saturday, September 28. For tickets call 0115 941 9419 or go to nottinghamplayhouse.co.uk.
Reported by This is 4 hours ago.