Shake and Stir Theatre Co: 1984 - Review by Daniel Conway

Adaptation is hard because it’s difficult to capture the magic of something in a totally different form. Often, adaptations fail because they focus on the wrong things, or the change in medium makes it impossible to explore what made the original text special in the first place. Shake and Stir’s production of the Orwell classic 1984 manages to do something I never expected: it captures the essence of the novel and the deeply internal narrative that drives it. This production is well thought out and exceptional down to the last detail.

From the moment you walk into the theatre, director Michael Futcher makes the bold choice to use ambient noise that is disconcerting and disruptive, setting the tone for a show that is equally bleak and unsettling. The soundscape, designed by Guy Webster, sets the pace, punctuates the action, and adds weight to the brutalist aesthetic of the set. All of these elements effectively establish the emotional and physical environment for the exploration of profound isolation that defines Winston’s story. It’s a production that demonstrates an acute understanding not only of the source material but also of how to communicate it clearly and viscerally to an audience.

One of the most effective choices made in this production is the use of audio-visual elements. While Michael Whalley performs Winston on stage as a man broken and resigned — with brief glimpses of vitality during scenes with Chloe Bayliss as Julia — his on-screen presence is entirely different. Through the telescreen, Whalley delivers unflinching monologues that contrast Winston’s internal life with the oppressive reality of his world. The decision to portray Winston’s thoughtcrime through the very mechanism of Party surveillance is inspired and results in two compelling portrayals of the same character, both equally captivating.

Bayliss as Julia brings a passion and reckless abandon that, for Winston and the audience alike, infuses energy and momentum pivotal to the development of the narrative. Tony Cogin delivers a formidable performance as O’Brien. His ability to cloak zealous cruelty in the guise of fatherly gentleness is chilling, creating a character who is both magnetic and terrifying. Abhilash Kaimal, in the dual roles of Charrington and Syme, brings specificity and nuance, clearly distinguishing between the enigmatic, soft-spoken shopkeeper and the fervent Party linguist. Meanwhile, Steven Rooke’s portrayal of Parsons offers a brief but welcome reprieve from the intensity, capturing the pathetic cheerfulness of a man blindly loyal to the regime, which only serves to punctuate his eventual end. These performances provide texture and contrast, enriching the bleak world without ever undermining its impact.

What makes this adaptation so remarkable is how it retains the emotional brutality of Orwell’s novel while crafting something undeniably theatrical. The work of Nelle Lee and Nick Skubij in adapting the text for the stage is nothing short of a masterclass: faithful, inventive, and deeply aware of the story’s thematic weight. They have managed to preserve the integrity of Orwell’s vision while creating a work that feels fresh and immediate. This is not just an excellent adaptation; it is a vital piece of theatre that demands to be experienced.