"The desire to preserve the past is echoed by the music in the play, underlying themes and connections with the past... foreshadowing the dramatic, sometimes gruesome, scenes of the second half of the play" Alison Manning, Elementary Whatson
A critically acclaimed adaptation of George Orwell’s dystopian novel, '1984' follows a group of historians as they discover the diary of Comrade 6079, Winston Smith. In a world where all citizens are closely watched by Big Brother, Winston’s life is jeopardised when he suddenly falls in love and begins to think free thoughts that threaten the scarily controlling government.
Winston Smith, thinks a thought, starts a diary, and falls in love. But Big Brother is watching him, and the door to Room 101 can swing open in the blink of an eye.
George Orwell’s chilling vision of the future is brought to life on the Criterion stage for the first time. A tale of oppression, control and rebellion, as relevant today as it was when first published in 1949.
Warning: This production contains scenes of torture and violence.
Reviews of the Play
"Ultimately any adaption needs to do something better, different or more thought-provokingly than the book. In this case, it is the stark latter scenes...stripped back to their brutal moving parts and most galling revelations." Kate Hennessy, The Guardian.
"The inventiveness of the production’s approach and stagecraft make for a vivid adaptation as accomplished as it is audacious. " David Benedict, Variety.
EDI Assessment
1984 has no specific diversity message within its narrative. The play can be cast with complete neutrality on race/ethnicity. On the character notes, there are indications where specific playing gender identifications are called for, however some characters can be cast gender-neutrally. Playing ages are suggested.
1984 - Big Brother is Watching! Are You?
Review by Alison Manning, Elementarywhatson
Over the next week there is the chance to be drawn into the world of 1984 at the Criterion Theatre in Earlsdon, Coventry, directed by Stephen Brown. Big Brother is watching you and the Party are in power, with telescreens everywhere, backed up by the Thought Police, to control people’s thoughts and actions and even memories.
Working in the Ministry of Truth, with the unenviable task of deleting records in order to “unperson” individuals who are to be wiped from the system, and from history, Winston Smith instinctively feels that things aren’t right, such as the declaration that chocolate rations are to be increased to 20g, when he thinks he remembers them being ‘raised’ to 20g the previous day, and the day before that. This even extends to who they are at war with, with the myth perpetuated that they were always at war with the same nation.
This play version of George Orwell’s novel, created by Robert Icke/Duncan Macmillan sets the back story of the plot from the opening scene with a group of historians from around a hundred years after 1984, discovering and studying Winston’s diary and learning about history through it. Just as 1984 was a futuristic date for George Orwell, at the time of writing the book, this seems to be an attempt to futurise the story now we have lived past that date.
Whilst an interesting premise, in doing this, however, it inevitably predicts the downfall of the Party which in Winston’s day seemed impregnable and impossible to defeat or destroy. It creates a possibly deliberately confusing opening. The scenes with the historians and their initial questioning directly of Winston: “Where do you think you are, Winston?” becomes a repeated phrase throughout the play, by various characters, often accompanied by flashing lights, both signalling sudden scene changes and adding to Winston’s confusion of what does and does not constitute reality, with some scenes partially repeated as Winston appears to live them more than once.
Winston was played well by Alice Scott, as a mixture or being dazed and afraid, but also with a deadly determination to fight back against the Party. Other performances of note were Megan Malonga’s strong portrayal of Julia and Lukasz Nowacki’s commanding performance of the mysterious O'Brien.
Together they connect with their forgotten past through secret foodstuffs obtained by Julia, that are no longer available publicly, such as real coffee, chocolate, sugar and fresh bread. It is the past that Winston fears the loss of most, the memory of such foodstuffs, the people who have disappeared and been deleted from records. He also fears the changing of historical facts, such as who they were at war with and for how long, losing the connection with the past and reality. Reality is threatened by the concept of doublethink, where two opposing views can both be believed at the same time. This is partly why he writes his diary, to record the truth as far as he can make it out, writing repeatedly that 2+2 equals 4. It is therefore ironic that the historians reading his diary question whether Winston himself was real or fictional.
This desire to preserve the past is echoed by the music in the play, underlying themes and connections with the past, in particular the poignant recurrent motif of the nursery rhyme Oranges and Lemons, half-remembered through characters’ recollections of vanished older relatives and sung by various characters throughout the play. Winston hears snatches of it and seeks to remember more and more of it, unwittingly drawing himself towards its gruesome conclusion of: “Here comes a candleTo light you to bed , And here comes a chopperTo chop off your head” , foreshadowing the dramatic, sometimes gruesome, scenes of the second half of the play.
If you’re brave enough to immerse yourself in this world, 1984 is on at the Criterion Theatre till 26 October.
Shock can be a powerful weapon in the theatre’s armoury, making a point, engaging or repelling an audience, helping to make a play memorable. When it is put to good artistic use and is relevant to the subject it is entirely appropriate to use it. Squeamishness, or sensitivity to the feelings of some members of an audience, should not be the primary consideration when the art justifies it. At its worst, though, the use of shocking scenes can seem merely gratuitous, shock and repulsion used for their own sake.
It’s a fine line to tread, and shocking scenes tend to cause more controversy on stage than they do on film, where we have become familiar with them almost as a routine. Robert Icke and Duncan Macmillan’s 2013 adaptation of George Orwell’s novel 1984 caused a good deal of controversy when it was played in London and on tour, with some audience members walking out, or heckling the actors.
1984 is undoubtedly a disturbing novel, and perhaps because it is so familiar we have become less sensitive to its content. Nevertheless, it is a brave company that takes on this play with serious intent, for it is not an easy watch, though it is often compelling.
The Criterion Theatre’s presentation is set in a dimly lit environment where, of course, Big Brother is always watching. The central figure, Winston Smith (Alice Scott) rebels, at first by writing a secret diary, then by falling in love with Julia (Megan Malonga). Words, and writing, are in themselves important motifs in the story. Where words may be used freely and have meanings that are not overtly manipulated for political purposes, then the people may be said to be free. In the world of 1984, the very opposite is the case, and the majority of the population happily go along with the deception, engaging in battles and hatreds that are entirely fabricated though no less lethal for that. It’s easier that waybecause, well, what can someone do alone when the whole system conspires against them. Belter to stay alive, if you can, than die for a hopeless cause.
Winston, of course, doesn’t agree, and is made to face the full horror of room 101 as a consequence. This is where those who resist are broken. The action therein takes up much of the final act, and we witness full frontal the psychological and physical torture at the hands of O’Brien (Lukasz Nowaki). There is a lot of blood, but there is also the needling doubt that much of what Winston feared she has brought upon herself. Thus the system makes her responsible for her own fate, and for the final dark, very dark denouement.
It is a powerful experience and cathartic in its way. The production is delivered with much conviction. The projected effects upstage are particularly effective. Credit also must be given to the Company for giving some of their less well-known personnel the chance to handle a full length, and full-on, play. The price is that at times the acting isn’t quite as good as The Criterion at its best can deliver.
Does 1984 still resonate in 2024? Well, that is for each of us to decide. This play, like the novel, makes a powerful argument, that gets right under your skin.