What can a novel written in the 1940s (published 1949) about a now-passed future tell us about our current society and the way we live and think today? Well, I can answer that with one simple word...much. George Orwell's seminal novel (no, in my humble opinion that honour goes to 1984 and not Animal Farm!) about a dystopian and nightmarish society controlled by "Big Brother", who, as we all know "is watching you" is a genre-defining and incredible read. Having studied the novel for my A levels (several decades ago...!), it is one of the few works of literature that I still pick up regularly and enjoy, despite having had the themes and meanings drummed into me, brainwashed by them, in a very '1984-ish' way by my then English Lit teacher!
This evening the stage was littered with old TV sets, some working, some not, with a large 'telescreen' at the rear, looming ominously and continuously. This was a stage adaptation by Nick Hern and was for a cast of only six. Hern's adaptation misses so much of the tension, the build, the suspense, the horror, the boredom, the thrill, in fact, it is a very bland and uninspiring adaptation, and was less than impressed by the text sadly. It starts towards the end of the novel, and the first act is played in a series of flashback vignettes, but not even played by the real Winston and Julia, but played by two other prison inmates of the 'Ministry Of Love' as a kind of therapy session. These vignettes therefore do not have the same punch or freshness as watching them take place in real time without knowing the end. In the second act, we start with a couple more vignettes, non sequiturs to the main storyline, but needed to add context and essential plot information, and so they seem rather clunky and out-of-place; whilst for the remainder of the second act we go to 'real time' in the present to witness the continuation and end of Winston's "rehabilitation" - his 'learning and understanding'.
Directed by Richard Holley, the pace of this cautionary and doomed romance / thriller which warns against Totalitarianism was set at quite a pedestrian speed, and sadly never truly managed to get out of second gear the whole time. In all fairness though, I don't think Holley is wholly to blame for this at all. The text (as I have already mentioned) was one of the poorest I have come across and didn't lend itself to high dramatic dynamics, despite the presence of the Thought Police and some excellently executed moments of blood and violence. Further, having O'Brien as the central and controlling force throughout the entire play makes for a very sluggish exposition, as there is only so much leeway and change of character available in such a character as his. In this production it was played with a certain relish in his own cunning and malevolence by Michael Crowley making an impressive acting debut this evening.
Winston, our antihero was performed by two people. First, the 'real' Winston who is forced to watch his thought crimes acted out in front of him as part of his therapy in the first act, and then come into his own as he is tortured by O'Brien in the second. Here Winston was given a world-weariness and gait way beyond his supposed 39 years by the sensitive actor, Craig Baillie. His fitter, more youthful and activistic self in the sessions was played by Nick Birchall, giving Winston a more solid and realistic reason for his thought-crimes. Julia was portrayed only in flashback (except for a couple of small scenes, aone being their final meeting in a cafe after they had both been released). Here she was played with verve and commitment by Rosie Nikolich. Other roles were taken by Emma Stafford (Charrington) and Bill Joyce (Parsons), and all played other much smaller roles and walk-ons where necessary. It was a true ensemble cast and they worked tightly and well together; bringing as much of this nightmare world to life as they could. It's a very wordy play, and some understanding of the novel and the novel's language and themes is a definite advantage for the audience member here (another reason why the text is poor in my opinion).
The play was underscored with suitably discordant electronic sounds composed especially for this production by Tim Benjamin, and a lighting and sound design captured the drab and dullness of Oceania well. Costuming was appropriate, and the minimalist idea of utilising just two wooden benches and little else as stage props / set worked well. Any further amelioration to the set was done quite aptly through the TV screens.
A most thoughtful and intelligently dissected production was the end product of the company's labours, and despite my commenting it being a little dynamically unchallenging, the cast still managed to keep not just my attention but also those of many young teenagers in this evening's audience who undoubtedly knew nothing about the novel or its themes other than watching "Room 101" and "Big Brother" on their on tv sets! An interesting production, stolidly, solidly, and realistically performed by Todmorden Amateur Operatic Society. Well worth making the trip to the top of Greater Manchester and tipping your toes into West Yorkshire for!
Reviewer - Matthew Dougall
on - 24.2.23
on - 24.2.23
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