Review: 1984, Royal Lyceum Edinburgh

How would you behave in a world where you could trust no-one, and your every move, word, and even thought was monitored? Chris Hannan’s new adaptation of George Orwell’s dystopian classic takes the stage at the Royal Lyceum, asking tricky questions about state control and the meaning of truth. 

Originally published in 1949, 1984 is set in the state of Oceania, formerly known as the United Kingdom. This has been taken over by a totalitarian government, known as the Party, and is ruled by a dictator figure, known as Big Brother. Every element of society is controlled, with ‘telescreens’ constantly monitoring citizens, the Ministry of Truth making sure history is rewritten to align with Party propaganda, and the Ministry of Love providing appropriate punishment for anyone who steps out of line. 

In this adaptation, Orwell’s tale is framed by the writer’s own story, with the piece opening and closing in the Hairmyres hospital in Glasgow, where the novelist was treated for tuberculosis. Hannan’s intention with this is clear: he wishes to highlight Orwell’s experience of fighting alongside communists in the Spanish Civil War, and how this had a direct impact on 1984’s creation. However, these scenes often feel overly explanatory, and reduce potential for the audience to become properly immersed in the story. Orwell’s influences are abundantly clear in the narrative, and they should be allowed to speak for themselves. 

Once the central action begins, however, the piece is very strong. Jack Tarlton has a striking presence as Winston, demonstrating impressive and believable depiction of pain, while maintaining a high level of energy throughout what must be a very physically and emotionally demanding performance. 

He is complemented fantastically by Jessica Hardwick as Julia, a seemingly devoted member of the Party who is revealed to have much more depth to her character than might first appear. Hardwick’s performance is nuanced and well-rounded, expertly portraying Julia’s development as she tries to fight against the Party and is subsequently broken by extremely harsh treatment. 

There is really no weak link amongst the performers: Irene Allan, Neshla Caplan, Peter Collins, Robert Jack, Irene MacDougall, and Zrey Sholapurkar all work together to create and maintain an appropriate level of tension. Each actor delivers their part with intensity and demonstrates attentive listening, making sure the audience’s focus is always where it should be. 

Dominic Hill’s direction and Tom Piper’s design are equally powerful. The bare, wooden set highlights the dystopian feel, and creates the sense that we are in an uncertain future space rather than a specific time period. The staging is altered to reflect the more naturalistic scenes between Winston and Julia, meaning that nothing is ever at odds with the desired atmosphere. Scene changes are slick and efficient, allowing the pace to be maintained. 

The only real flaw in the production is Hannan’s desire to tell rather than show, while the scenes with Orwell add an unnecessary length to the almost three-hour long production. Nonetheless, it is an interesting exploration of truth, totalitarianism, and trust, with an appropriate balance between political messaging and unpacking real human relationships.

Written by Chris Hannan
Original book by George Orwell
Directed by Dominic Hill
Design by Tom Piper
Lighting Design by Lizzie Powell
Composed by Nikola Kodjabashia
Associate Electronic Composer: Phineas de Thornley
Head Sound Design by Mark Melville
Movement Director: Emily Jane Boyle
Video Design by Heather Scott
Fight Director: Emmaclaire Brigtlyn
Assistant Director: Ben Purkiss
Video Programmer: Grace Priest
Voice Coach: Jean Sangster
A Royal Lyceum Theatre Edinburgh, Citizens Theatre and Dundee Rep Theatre Co-Production 

1984 plays at the Royal Lyceum Edinburgh until Saturday 7 November.