Headlong Theatre’s 1984 - York Theatre Royal
Four/Five
When a production opens with a voiceover, a large screen using live
camera and the actor acknowledging both the voice and the audience, I always
try to decide whether or not the balance will be right. Too much going on to
really understand the plot, use of set and technology rather than any
connection to the characters. What followed the first few minutes of 1984 was,
however, as thought-provoking, intelligently staged and enlightening as
anything I’ve seen this year.
Headlong’s dive into George Orwell’s world tackles the main difference
between the novel and other art forms - that the novel is an individual
experience that gives you an insight into a single character’s life. The
production does this, using lights and sound effects to confuse and
disorientate the audience (and the lead character, Winston). For those
unfamiliar with the novel, the script takes the time to reveal gradually
throughout the play, rather than fit ten minutes of exposition at the start.
Starting out in a book club discussing the novel, the play twists and turns,
each time letting you think that you have finally realised the truth before
turning the world upside down.
What I rated most highly about the production was the way in which
comparisons to modern life were eked out. At no point were direct influences
mentioned but little jibes (“What year is it?” “I don’t know, 19…2000….?”) and
character’s opinions (“it can be applied to any period”) reminded the audience
that this play is definitely as relevant now as it was when first published.
The highly-effective multimedia placed the audience as Big Brother; the live
camera stream showing us the “safe place” of Walter and Julia.
Excellent paced throughout, the last 20-25 minutes of the production
absolutely roared through, leaving questions and ideas with no real answers, as
well as the doctrines of the Party (“War is Peace” “Ignorance is Strength”),
firmly in the audience’s mind. As Winston, the man who’s story is unfolding
before us, Matthew Spencer was superb, excelling in the early scenes, as well
as the more gruelling torture scenes. Martin (Andre Flynn) and O’Brien (Tim
Dutton) were also excellent in their respective roles, Flynn in particular
showing great characterisation throughout. The outstanding set design by Chloe
Lamford was the first aspect mentioned by the people I saw the play with but
Robert Icke and Duncan MacMillian (joint direction and adaptation) have blended
so many visuals and ideas together that I had to marvel at how well they
succeeded in executing the entire piece.
Though it never quite gets you poised on the edge of your seat, 1984 is
an engaging production that almost clarifies some of Orwell’s subtler ideas and
leaves audiences in no doubt as to its relevance in today’s society. 1984 can
as easily be 2014 as it can be the near-future and Headlong gives no answers
for the problems it suggests but guarantees everybody will be discussing the
issues of censorship, power and indoctrination as they leave this piece.
Headlong’s 1984 is currently at York Theatre Royal,
the first stop on its nationwide tour.
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