1984
Theatre Royal, Brighton
Until Sat 2nd November (then continues on tour)
1984 is a dystopian novel and the final book completed in the lifetime of George Orwell. It centres on the consequences of totalitarianism, mass surveillance and repression of people and behaviours within society. Orwell, a staunch believer in democratic socialism modelled the Britain under authoritarian socialism in the novel on the Soviet Union in the era of Stalinism and on the very similar practices of both censorship and propaganda in Nazi Germany. More broadly, the novel examines the role of truth and facts within societies and the ways in which they can be manipulated.
Prophetically, we are on the cusp of witnessing a President being re-elected who wants to prosecute his political opponents, “the enemies within” and who believes he needs loyal generals and followers that obey orders regardless.
For this reason, the current perfectly timed revival of a literary masterpiece is genuinely terrifying … or should be. Certainly, the Big Brother eye which dominates the stage and Justin Nardella’s set and video design is powerfully stark, working in tandem with Paul Pyant’s exquisite lighting.
As Winston Smith, the main protagonist of the story, Mark Quartley is very good indeed and his transformation from everyman merely harbouring thoughts of rebellion to political prisoner literally stripped of his dignity and clothing is beautifully paced and very believable. His illicit relationship with Julia, however, is less so and there was a lack of sexual chemistry between Quartley and Eleanor Wyld who lacks the vulnerability to convince as Winston’s lover. Consequently, Smith’s final betrayal is rather anti-climatic and their love-making scenes are too choreographed and lack any spontaneity.
David Birrell as Tom Parsons, Winston’s naïve neighbour, and an ideal member of the Party completely steals the show with a performance that is harrowing, compelling and utterly credible. The scene where we find him imprisoned in the Ministry of Love, after his young daughter reports him to the Thought Police for speaking against Big Brother in his sleep is the highlight of the show.
Several parts are played only on a screen which keeps a watchful eye on the audience, including Finbar Lynch as Emmanuel Goldstein, the head of the resistance forces and enemy of the state and Mathew Horne as Ampleforth, a respecter of poetry and language, traits which cause him disfavour with the Party.
Overall, this is a competent production directed without tremendous flair by Lindsay Posner.
Reviewer: Patric Kearns
⭐⭐⭐