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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 [...]

By George Orwell Adapted by Blind Summit Reviewer: Marie Kenny For those looking to avoid the silly string and screaming children this festive season, BAC has 1984. Not so full of the joys of Christmas! Audiences may connect this play to Channel 4’s Big Brother which is beamed into our living rooms, but I doubt they’d be expecting the emotional terror described in the book. In a twist from the novel, Blind Summit have created a play within a play. The piece opens with a chorus of uniformed, brainwashed citizen-actors ready to take on their roles in Orwell’s story. Never leaving the stage, the ensemble presents the story of wistful, idealistic Winston; a civil servant wanting to rebel against an all-seeing state. The Ministry of Truth monitor every move and change the past to suit whatever the current governing policy is. For Winston it’s only a matter of time before his illicit romance with Julia is discovered, and the consequences at the end are crushing. However, this particular version of Orwell’s classic does manage to bring a level of humour to the piece, with one particularly memorable sex scene in a field that sticks in the mind. This comic element is blended with an extremely Brechtian feel to the whole piece. Each scene is given a title and narration, from the chorus, an A level teachers dream but as a result it’s not until the very end that we begin to feel for the character’s plight. Rather than the predictable multi-media extravaganza, they’ve opted for a very low tech, minimalist approach- even the spying televisions are made from cardboard. The handful of puppets have cardboard heads and soft bodies, and yet they are manipulated in such a believable, humanistic way. The incredible strength of the production is the physicality and [...]