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1984

★★★

Hackney Town Hall

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1984 at Hackney Town Hall

★★★

“thumpingly well executed and fervently pursued”

“The enemy within.” Has a ring to it, no? Or what about this? “See It. Say It. Sorted.” Another hoary command broadcast by The Party and also by TfL on the way home. That’s immersive for you.

The relevance of George Orwell’s dystopian how-to guide 1984 rarely has to be overworked. There’s always a poisonous little despot in some benighted land somewhere trying to expunge disloyal thoughts by means of semantic trickery or a bag of rats.

For the purposes of this site specific interpretation of Orwell’s evergreen nightmare, Hackney Town Hall doubled as the Ministry of Truth. A great choice. With its restored art deco panels, plush carpeting and infusion of civic duty, the council chamber supplied the architecture of grand coercion.

Soon you’re believing – as mandated – that our beloved Oceania has always been at war with Eurasia even though someone sidled up to you in the atrium over pre-show drinks and told you that was a lie. A few minutes later he was carted off by party apparatchiks only to return to the production later, bloodied, bruised but presumably purified.

That was also the fate awaiting 6079 Winston Smith (an effective Joe Anderson) who indulged in rebellious pleasures with 2374 Julia (a bewitching Neetika Knight) bringing him to the attention of steel-eyed party enforcer O’Brien (a chillingly smooth Dominic Carter).

O’Brien had earlier occupied the council chamber exhorting us to give ourselves fully to the Party and this production was, in conceit, an assessment of our suitability to work for the Ministry. To that end, perma-smiling cultists greeted us with the disturbing vacancy of the true believer. Later they would brandish the lights, mics and cams of Big Brotherly voyeurism. And later still they would clutch the instruments of blissful torture. Made no difference to them as long as they were serving the Party.

We were numbered, divided and drilled around Hackney Town Hall like the sheeple that we were. The interactive immersion of the prelude gave way to a more conventional, if a tad duller, dichotomy of entertainers and entertained.

That’s the flaw in this immersive process. There’s always a lingering sense of confusion – are we supposed to be saying something? Or simply enjoying the show as docile recipients? Is that the point? The complicity?

That’s not to criticise director Jack Reardon’s snappy production which was thumpingly well executed and fervently pursued. The sound and lighting (Munotida Chinyanga and Ben Jacobs) were mightily impressive. The back projections on a vast wall (Dan Light) were particularly effective in emulating the real-time myth-making so beloved of dictators.

Full credit to the creative team for staging something so steeped in familiar iconography but in a fresh and stimulating way.

However, for all the logistical wizardry and lurid fascistic paraphernalia, the production was at its most engaging when depicting the simple story of two people falling in love against the odds. Despite the eye-catching techno trappings and bleak tarpaulin torture scenes, it was the indomitable need for human connection that made most impact. That was the thoughtcrime we successfully smuggled out into the London evening, right under the watchful eye of Big Brother.


1984 at Hackney Town Hall

Reviewed on 17th October 2024

by Giles Broadbent

Photography by Maggie Jupe

 

 

 

 

 

 

 

Previously reviewed by Giles:

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK | ★★★★ | MARYLEBONE THEATRE | October 2024
THE JAMES BOND CONCERT SPECTACULAR | ★★★½ | INDIGO AT THE O2 | October 2024
DR DOLITTLE KILLS A MAN (AND READS EXTRACTS FROM HIS NEW BOOK) | ★★★ | MUSEUM OF COMEDY | October 2024
THE LEHMAN TRILOGY | ★★★★★ | GILLIAN LYNNE THEATRE | October 2024
PAST TENTS | ★★★ | GOLDEN GOOSE THEATRE | October 2024
THE CABINET MINISTER | ★★★★ | MENIER CHOCOLATE FACTORY | September 2024
THE BAND BACK TOGETHER | ★★★★ | ARCOLA THEATRE | September 2024

1984

1984

Click here to see our Recommended Shows page

 

YOUR LIE IN APRIL

★★★

Harold Pinter Theatre

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YOUR LIE IN APRIL at the Harold Pinter Theatre

★★★

“a fun-filled show, packed with bubbly pop numbers and heartfelt performances.”

The net is wide for source material for musicals so an adaptation of a hit manga turned anime feels like a ripe opportunity both for visual delights, and for ticket sales to an existing fan base.

The story is simple and sweet. It follows high schooler Kōsei’s (Zheng Xi Yong) struggle to recapture his musical ability after the loss of his mother. He is helped by his best friend, tomboy Tsubaki (Rachel Clare Chan) and by a mysterious new girl, Kaori (Mia Kobayashi) who is passionate about showing him the power of his talent.

Some aspects of the story’s translation to stage work beautifully – it is a story with music at its core. The show works well to weave in classical pieces, balancing them with Frank Wildhorn’s catchy and fun numbers. Zheng impressively plays a piano which remains ever present on stage. It is a love story of musicians, and a love letter to music.

Adaptation is a battle between what to leave in and what to cut. Rinne B Groff, who wrote the English language book, has made some surprising choices. A number about bike riding comes a bit out it nowhere – though the choreography by director and choreographer Nick Winston shines particularly in this scene. In a relatively short musical, there is less chance to develop story so each scene really counts. The plot unravels slowly, then all at once.

The tangled teenage triangles, united by the power of music are brought to life by Zheng’s believable anguish, Kobayashi’s mesmerising breathy vocals, Chan’s cartoonish enthusiasm and Dean John Wilson’s excellent comic timing. Lucy Park does a surprisingly moving turn as Kōsei’s mother, it’s almost a walk on part but she brings true emotion to it. Theo Oh is adorable, one of three alternating young Kōseis who make the audience audibly coo. Ernest Stroud and Erika Posadas are quiet scene stealers as resentful lesser piano competitors. And Chris Fung smashes the funniest moment in the show.

Playful nods to the manga shimmer (thanks to Rory Beaton’s lighting design) across Japanese screens which surround the set (Justin Williams). A cherry tree and a piano mark opposite ends of the stage. Between that and carved wooden steps, the set anchors the play with a much-needed sense of place. Without it, the show might feel eerily devoid of setting. There is a clean-cut all Americanness to Groff’s dialogue and Miller & Green’s lyrics which make the already contrived situations feel at times laughably silly. This silliness is not helped by everyone being in school uniform (designed beautifully by Kimie Nakano).

For 2024 a show where female characters prop up the main male story, at times risking their own health and wellbeing, does feel a little dated. There’s also a predictability to it, which alienates the drama a little.

However, for a younger audience or  fans of this particular genre, this could be a smash hit. The teenager beside me, a fan of the anime, was enraptured to see his favourite characters on stage. Despite a little cheesiness, this is a fun-filled show, packed with bubbly pop numbers and heartfelt performances.


YOUR LIE IN APRIL at the Harold Pinter Theatre

Reviewed on 5th July 2024

by Auriol Reddaway

Photography by Craig Sugden

 

 


 

 

See also:

YOUR LIE IN APRIL | ★★★★ | Theatre Royal Drury Lane | April 2024

YOUR LIE IN APRIL

YOUR LIE IN APRIL

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