Attending the latest staging of "1984" by Within Theatre Company, despite it having been years since I last read the book or watched it performed, it still leaps out as being a powerful piece. This review will focus solely on the performance I witnessed, featuring Ivan Ivashkin as O’Brien and Faiaz Valiullin as Winston.

From the outset, the production immerses its audience into the world of Big Brother, with the audience members being party members observing the process of re-education. There was limited actual audience participation, one handsome man (me) was taken up on stage but was quickly returned to the audience, while two other apparent plants played significant roles in re-enacting Winston’s life. The play, condensed into an hour with no interval, navigates through the highlights of Winston's existence, albeit significantly abridged.

The backdrop of the stage served as a canvas for projecting modern images and quotes, changing between seemingly real and deliberate misinformation. This choice cleverly underscores the theme of pervasive propaganda and historical revisionism, a chilling reflection that resonates as much in contemporary England as I suspect it does globally. However, one element that stood out was a digitally created image of a boot on a hill, which felt unnecessarily artificial.

The re-enactment of the story by ‘audience members’ led to some uncomfortable moments, particularly in the portrayal of Julia, where the physical interactions ventured into awkward territories, reflecting her narrative of sexual rebellion. This aspect was both confusing and disturbing, lacking the nuance that might have elevated the interpretation.

This adaptation stripped away any trace of romance or intimacy between Julia and Winston, posing a stark depiction of their relationship which traditionally questions genuine affection and a mutual rebellion against Big Brother. The lack of intimacy made their eventual betrayal a flat note, suggesting perhaps that clinging to some semblance of personal freedom was their last act of defiance.

Despite these narrative choices, the cast of five was formidable, managing to captivate and maintain the audience's attention throughout what is undeniably a dense and demanding play. The use of live video on a vintage TV served to enhance the immediacy and intensity of the performance, reinforcing the omnipresent surveillance theme intrinsic to 1984.

This show was reviewed on the 2nd February 2025 at the Omnibus Theatre, London.  For more information on Within Theatre, please visit: WITHINTHEATRE | independent theatre company

Review written by Valentine Gale-Sides

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