Review: 1984, Playhouse Theatre, 28 June 2016

Robert Icke and Duncan MacMillan's new adaptation of George Orwell's seminal novel, 1984, has returned to the Playhouse Theatre for a second summer - an honour it very much deserves.

Orwell's political treatise of a novel is often considered one of the 20th century's greatest literary achievements, as the ultimate dystopian imagining; for some, the concepts discussed in the book are far more striking than the story itself. In his programme notes, Icke goes so far as to say that the book's appendix is the most important bit. All considered, it's a tale of ideas and it's difficult to see how the integrity of Orwell's story could be kept intact when brought to the stage. However, this production achieves just that - it's clever and incredibly atmospheric. Somehow here is adaptation for the die-hard Orwell fan, for those who aren't acquainted with the book and for those who (frankly) didn't much like it.

The story needs little introduction, but takes place in Oceania, AKA the United Kingdom, in the not too distant future of 1984. The Party rules with an iron fist; two way telescreens survey civilians constantly, rations are low, propaganda is high and language is gradually being depleted so that rebellious ideas can no longer be expressed, even internally. Amidst this cold horror, Winston works for the Party, but knows he is guilty of thought crime. After he further incriminates himself, Winston is then subject to the legendary horrors of the Ministry of Love - the fear of which keeps all the Party's members in silent obedience.

Direction, by Icke and Macmillan, and performances are of an extremely high standard. The piece conjures this frightening world most effectively by showing a few days' manically oppressed activity. The same conversations are heard again and again, and striking movement work (this production is in association with Headlong, after all) show the bewildering nature of this society. The ensemble even manage to create humour from this silent oppression. Yet, to the audience and Winston, everyone else seems content, making his plight all the more confusing and difficult.

This is uncomfortable viewing for a number of reasons; it's absolutely not viewing for children, though should perhaps be compulsory for teenagers and beyond. The violence is quite graphic and Natasha Chivers's lighting and Tom Gibbons' sound are intense to the point of physical discomfort in some scenes. All considered, this is appropriate and effective - the experience is quite immersive, especially considering the style of theatre - but perhaps consider these facts if using contact lenses or hearing aids. Another cause for discomfort is just how true Orwell's dystopia has become. From tapped phones to emojis to fear-inciting political campaigns, some of the Party's agendas live on.

Andrew Gower and Angus Wright give exceptional performances as Winston and O'Brien. Gower's Winston is unsteady and terrified. His desperation to express himself and effect change is contrasted beautifully by the smooth, calm qualities of Wright's O'Brien. Catrin Stewart gives a wonderful performance as Julia. Though Julia is accused of being a "rebel from the waist down" Stewart's performance is intelligent and interesting: perhaps Julia understands something deeper than disastrous politics. The rest of the cast are fantastic - this piece works in part because they are a brilliant ensemble.

All in all, this is a really exciting, visually striking production, and it's more affordable than many West End shows: for each performance, 101 tickets are available at £19.84. This important piece of theatre deserves the accolades it's previously received, and is one of my top recommendations for the summer.

1984 runs at the Playhouse Theatre until 29 October 2016. The show runs for approximately 101 minutes without an interval. For everyone but children.

Photo credited to Manuel Harlan.

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