1984 – Royal Exchange Theatre, Manchester

Writer: George Orwell

Adaptor/Director: Matthew Dunster

Reviewer: David Leith

The Public Reviews Rating:

In their spring season premier, The Royal Exchange brings Nineteen Eight Four’s legendary vision of a dystopian society to the stage. Directed and adapted by Matthew Dunster the production tackles the pertinent vision of George Orwell’s totalitarian society.

One of Orwell’s most iconic characters Winston Smith, played by Jonathan McGuinness introduces the audience to the original premise of the all seeing Big Brother. Jonathan McGuinnesss’ frail frame paints a perfect picture of the maladjusted Winston and his performance is alluring and engrossing.

The passion for this notorious story is obvious, although at times it felt as though it required more editing in order to focus on the numerous important characters and themes. Dunster’s direction is strong and occasionally innovative yet with such a rich dialogue and so much ground to cover, the copious scene changes and erratic stage business often detract from the initial development of the principal characters; Winston (McGuinness) and Julia played by Caroline Bartleet.

Whilst both actors execute their individual characters well, the initial development of their significant relationship feels flat and unconvincing due to the rushed state of which it is introduced to the audience. The narrative is in place yes, but it moves so quickly that the audience has little time to invest in it.

In trying to maintain the length and richness of the dialogue, Dunster’s treatment of the first act feels hurried and somewhat muddled, which at times is detrimental to the well performed ensemble. I can understand the longing to stay true to Orwell’s rich and comprehensive words where possible and at times this is necessary, such as Emanuel Goldstein’s manifesto in the latter half, taking on the facade of a sociological seminar. Paul Moriarty’s portrayal of this lengthy and significant speech is completely enthralling. It appears that some selective editing could have taken place to ensure the actors didn’t drown in the narrative.

The latter half was more successful; moving at a smoother and more comfortable pace. After meeting O’Brien, effectively executed by Matthew Flynn in the first act he takes us deeper into Orwell’s vision of tyranny. Aline David’s choreography along with Kate Waters fight direction add a successful stylistic element to the unsettling yet elegantly executed torture sequences.

The scenes between O’Brien and Winston are carried out so convincingly that they feel uncomfortably voyeuristic. Dunster’s interpretation of Winston’s gruesome ongoing emotional abuse is excellent and disturbingly watchable. Winston’s inevitable entry into the dreaded room 101 is shocking yet necessary and leaves the audience with a real sense of empathy for the central protagonist. The piece delivers some intelligent and creative ideas; Paul Wills design in particular requires a special mention.

It was always going be a hard undertaking to try and adapt and perform Orwell’s physically and ideological complex story and I feel it was successful overall. Dunster should be given credit for attempting to deploy innovative and new theatre at this address. Dunster’s attempts to tackle this transition are predominantly successful and appropriately terrifying with some excellent performances from the principle actors yet at times the overall production was somewhat lacking in focus and substance.

A little more attention paid to the editing of the piece would have ensured a great story was better told as the key elements were all there for Dunster’s production to fulfil its full potential.