This adaptation of the Orwell classic achieves a manifold victory

The first thing you might notice about this production of 1984 at Liverpool Playhouse is their excellent use of projection and set design to transport you into Winston Smith’s world and transform the theatre space from anything from backdrops or middle-ground scenery (achieved through clever use of a semi-transparent screen on stage) to video and computer screens. Before the show proper even begins the screen on stage displays an enormous eye, the camera roving the audience – we too are already under a state of surveillance.

This all changes, however, as the performance starts. Use of the fourth wall to represent the presence of the regime’s ubiquitous cameras causes the audience to assume an almost voyeuristic position – being invited into the performance in the role of the totalitarian “Party” themselves. 

As an adaptation it makes full use of everything that could be gained through a stage production, with nothing left to waste. Scene transitions are tight and utilise said projector for effects to aid the transition, or text to give the location of the scene – in a nice way of potentially avoiding too much exposition in dialogue. The aforementioned use of addressing the stage front – the audience – as cameras is also a lovely touch allowing us, the audience, to really feel connected with this world we are being shown.

Moreover, the pacing is incredibly strong throughout, a credit to both direction and writing. The final act, for example, despite occupying nearly half of the performance, felt like a natural conclusion to the story and delivered the famous narrative’s denouement fantastically. 

Any audience can also expect some stellar acting, not just from the accomplished Keith Allen as Comrade O’Brien, but also lead Mark Quarterly provides a star turn as Winston. 

Really, every member of the cast does an impressive job and allows the writing to shine with various emotive dialogues and thought-provoking monologues – often paraphrased from the original novel – excellently performed in every instance. Of particular note are some of the more thematically expositional examples delivered in the final act of the play, which were not only engaging but at times truly sympathetic. 

All in all, there really is not just one thing that can be pointed to in this 1984 that singularly elevates it. Instead it is that almost every aspect of the production is almost flawless. Everything one could expect from an adaptation of the work into a stage play is present – it is brilliantly acted, fantastically written, the production and direction is superb.