Review of ‘1984’: “This show is big, brother”

The literary classic returns to the London stage through this new adaptation written by Ryan Craig and starring theatre and television star Keith Allen. Guillermo Nazara shares his views on the show, to let us know if the latest take on Orwell’s dystopian universe manages to boast enough authority.

Those who control thought own the path of destiny… It’s an idea we’ve been bombarded with for the last few years. How the rights that concoct the fabric of a modern society have been put at stake for the sake of the greater good. How liberties have been cut short in the name of freedom. And how, in a time when anyone is entitled to voice their own opinion (in a way they haven’t had access to ever before in history), everyone is afraid to speak.

George Orwell’s dystopian cautionary tale is back to the front line through Ryan Craig’s new adaptation of the not-so-futuristic-anymore novel. A faithful translation of the source material, the show preserves the ominous essence that made of the original book such a distressingly enjoyable read. Both themes and styles are thoroughly respected – and as such, the piece serves as a beautiful homage to foreboding words of what, in the end, is a literary warning, and a bold reminder of the horrors to unravel when power is given to the wrong hands.

Directed by Lindsay Posner, the production keeps a generally cohesive atmosphere based on sterile emptiness and threatening monotony. A big, translucent LED screen stands on the back, keeping its beady-eye watch upon anyone who passes by – viewers, included. Featuring designs by Justin Nardella, the montage makes a compelling effort at maintaining the soulless undertone of its setting – combined with a few occasional surprises that allow the piece to stretch beyond the mundane decadency of the world it tries to depict.

Successfully staged despite a few questionable choices, apart from lacking a little more edge when portraying the overwhelming menace its characters inhabit, both writing and visuals work with sufficient accord to bring Orwell’s harrowing universe to life and make it tangible. There are a few slight flaws in pacing, though – with the action, all in all, moving at the right speed, but flaunting a slight absence of introspection at some bits; thus, preventing the roles from achieving full three-dimensionality, and subsequently, the humanity the oppressive regime they’re subjugated to endeavours to wipe out.

On the other hand, the transitions during Act One could benefit from more imaginative solutions (a problem that, most surprisingly, doesn’t happen during the second half) – since, despite never feeling too bumpy, they still miss a degree of seamlessness and overall flow. In addition, some scenes could also take a more theatrical approach in its delivery; sometimes, giving too much of a cinematic vibe – which, as much as they can contribute to accentuate the recount’s rhythm, they, too, can compromise (as they do) the cadence the narrative requires when brought onto the stage.

As for the cast, the company poses as the other great asset of the production – with the whole troupe working in good tandem, as well as some exuding adequate chemistry and presence. Among them, Mark Quartley makes one of the most laudable appearances as the protagonist, Winston – giving a invitingly poignant interpretation that flaunts flair and pathos, and rapidly builds a heartfelt connection with the viewer in spite of his personage’s distant nature. Yet, the highest praise goes to Keith Allen thanks to his absolutely captivating rendition of the two-sided O’Brien – boasting tremendous allure and magnetism when conveying this strikingly enigmatic character through an even more strikingly enigmatic performance.

A trip to the past through a classic that foresaw the future and resonates with our present, 1984 does justice to Orwell’s iconic work by bringing out the unfairness of a world whose terrorizing image doesn’t stem from its far-fetched reality – but the very few steps it constantly stays away from us as a sign and part of mankind’s corruptible essence. It triggers thought through its core contents, and provides entertainment through its execution. And regardless of the minor tweaks it may need, it’s always safe to say “long live Big Brother”.

All pictures credit to Simon Annand.

1984 plays at London’s Richmond Theatre until 16 November. Tickets are available on the following link.

By Guillermo Nazara