DramaFringe TheatreReviews

Review: 1984, Omnibus Theatre

Summary

Rating

Good

A performance that revitalises this classic story, making it feel both contemporary and all too possible.

This 40th anniversary adaptation of George Orwell’s seminal story has the audience well lit, directly addressed, coerced into responding: all providing a suitably intimidating opening for a stark production of 1984 inspired by Nick Hern’s script and adapted by Within Theatre Company.

The set (Creative Director & Set Designer Sonya Bleiph) with bench, chair, table and an ominous filing cabinet, is dimly lit. However, it is the video surveillance that sets the atmosphere, as a recording of Winston Smith and his girlfriend runs throughout the play, unsettling both characters and audience alike. The video picks up any change not only in action but also in thought. Expressions and movements are meticulously observed, and behaviours are carefully interpreted. This indicates that we are in an environment where free speech and individual activities are perceived as a potential challenge to state authority.

Within Theatre’s production takes this already political piece and gives it a more contemporary feel as it resonates with present-day global events, where right-wing forces seek power and oppose individuality of expression. This Slavic production is set against a Belarussian backdrop with a selection of slides that flash up to echo the themes in the play. Given their recent elections, where we are told that just because we didn’t see their elections as a democratic process doesn’t mean that they weren’t, the idea of ‘doublethink’ – to know what is and is not, with two opposing ideas that can be held at the same time – invidiously creeps through every aspect of the play.

The interrogator, played with an all-pervasive authority by Ivan Ivashkin, probes for a truth that he is happy with. His prisoner, Winston, is played by Faiaz Valiullin with a searching sensitivity, confusion and ultimately resignation. He is a man who dares to think independent thoughts and actions as he is driven by lust in his secret liaisons with Juliet (Anastasia Aush).

Sex not only gratifies them both but indicates their independence through having control over their own desire and imagination of self-gratification; it is seen to threaten the overreaching state control. This is a fight for identity and self-expression against the state and its gatekeepers. The electronic buzzing soundscape, spotlights and shadows all destabilise the individuals, as they are encouraged to forget, to lose desire or imagination. They must reconstruct a new narrative. However, IIgor Laski as the guardhelps weaken and torture the suspects and of course everyone succumbs in the end. The ensemble playing is tight and through employing a range of creative and imaginative choices this straightforward, unsophisticated retelling of a tale shows us it is still very much part of our reality, as it makes us question the limits of our own freedoms. 

The dystopian feel of this show is less a fantastical nightmare and more of revelation of how our personal freedoms are under threat from unchecked political forces in our real world. It is certainly a production that gets you thinking!


Director/Producer: Sofia Barysevich
Creative Director/Set Designer: Sonya Bleiph
Costume Designer: Anastasia Glazova

1984 runs at the Omnibus Theatre until Sunday 2nd February. Further information and booking details can be found here.

Paul Hegarty

Paul is a reviewer and an experienced actor who has performed extensively in the West End (Olivier nominated) and has worked in TV, radio and a range of provincial theatres. He is also a speech, drama and communications examiner for Trinity College London, having directed productions for both students and professionals and if not busy with all that he is then also a teacher of English.

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