Review by Sam Waite
⭐️⭐️
Some people read their favourite books and imagine how it might be to live in that world. Percy Jackson fans imagine training to fight monsters at Camp Half-Blood, Harry Potter-heads fantasise about studying at Hogwarts, and Narnia lovers dream about what could be behind their jackets. Now I'm sure someone out there has daydreamed about living in the dystopian world of George Orwell’s Nineteen Eighty-Four, but those idealising or imagining they may enjoy it would perhaps have missed the point. Still, there's enough intrigue to the idea that a successful 2023 run of 1984 has led to a return to Hackney Town Hall to invite a new crowd of comrades to join The Party.
Much of the central narrative of Orwell’s novel remains, though truncated to allow for the audience to be more deeply immersed before following the doomed, forbidden romance of Winston and Julia. Pure Expression’s 1984 spends a good amount of time with those being assessed (us) for fitness to join The Party being preached to be O’Brien, the higher-up who will decide our future. The world-building – where “Big Brother” oversees a cult of personality which has forbidden much of humanity's base freedoms – takes much of the focus, selling the idea that we are initiates to a cause we may or may not (hopefully not) believe in.
The problem arises when the plot of the novel does kick in, because it simply doesn't have enough time. The development of Winston and Julia’s illicit romance is rushed and littered with spoken exposition to fill in the development 300 pages can offer but 40 or so minutes simply can't. Joe Anderson is devastating as Winston, but without the knowledge of how much he hates The Party the stakes of his betrayal are minimised somewhat, and it being presented to us as having been recorded and shown to us (though the cast appear live on stage for this) dampens the revelation that their secrets have not been as well-kept as they'd believed.
Hackney Town Hall is an excellent venue for the experience, however, and being seated in the council chamber while Dominic Carter’s stern, fully commanding O’Brien preaches the importance of order, and of Big Brother’s protections, certainly adds to the sense of political intrigue. For the section focusing on Winston, Ben Jacobs’ bold, impactful lighting adds a sense of dread to the harsher, more authoritarian moments, while Dan Light provides genuinely affecting use of videography both pre-recorded and captured live as the cast perform.
Jack Reardon’s direction has helped to craft a strong ensemble performance by the entire company, who engage with the audience form the moment they arrive and truly sell the idea that we are attending our assessment rather than a theatrical experience. Anderson's Winston and Neetika Knight’s Julia are particularly strong, as is Carter’s truly frightening O’Brien. However, everyone is fully dedicated to their work, and brings a sense of unease and something deeply wrong to every second, whether eyes are on them or not. Producer Adam Taub’s adaptation of the novel has moments of absolute brilliance in its presentation and in its re-delivery of the narrative and themes, but despite the obvious talent on all ends this production is often trying to do too much – to be too much.
With elements of a great stage adaptation mingling with hallmarks of a delightful immersive experience, where 1984 struggles is in its attempt to be both of these things within 70-minute time slot. Where either being more fully engaged in the world-building of Orwell’s creation could be fascinating, and spending more time observing the walls of the two lovers coming down could be a rousing and heartbreaking story, we are often left longing for either to be given a fuller focus. Despite no interval, this feels like an event of two halves.
So often close to rousing success but far too often failing to live up to its potential, 1984 is a genuinely engaging evening at the theatre (well, the town hall) if not always a consistent one. Everyone involved is playing their A-game, but it's not always as strong as the sum of its parts, and the division between the immersive and fully scripted components lead to times when it's difficult to tell how welcome we are to step in and be part of the story. My friend and I were encouraged beforehand, should be feel so compelled, to stand and declare our love for Oceania, and for Big Brother… yet I was never sure how fully this may halt proceedings.
Exciting but exasperation, stirring but stilted, 1984 is an incredibly interesting evening but one perhaps best enjoyed by either die-hard Orwell fans, or those who welcome the opportunity to criticise his world – either way, those who would have the most to gain by revealing in Oceania’s world-building and Big Brother’s regime. Perhaps Orwell would be most proud of the confusing nature of the piece, the realities of how baffling and unsettling his world is thrown into harsh clarity, and thus his satirical aims are fulfilled.
1984 plays at Hackney Town Hall until December 22nd
For tickets and information visit https://immersive1984.com
Photos by Maggie Jupe
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I totally get where you’re coming from! 1984 is such a complex read, and it really does provoke a lot of strong feelings. The tension between excitement and frustration reflects how disorienting Orwell’s world can be. I think it’s fascinating how he captures the oppressive nature of totalitarianism, making us question the ragdoll hit reality around us. It's definitely a book that sticks with you, whether you're a fan of Orwell or just exploring the themes he presents. I appreciate your take on how his satire really comes through in that confusion. It makes you think about the implications in our own society, doesn’t it?
Watched the play a few hours ago and loved it, disappointed to see such low scores