The two minute hate was executed perfectlyManuel Harlan

Last year I saw a production of 1984 which failed to deliver the brilliance of Orwell’s text; I felt a little heart-broken to see such a great work so poorly adapted, so I went to see (Cantab) Robert Icke’s production a little tentatively. However, my fears were confounded by the intensity and brilliance of this show – Icke has adapted the novel himself, alongside Duncan MacMillan, superbly, with an incredibly strong ensemble cast. 

The actors were utterly captivating, without a single weak link, Tim Dutton acted a suitably menacing O’Brien and the omnipresent Martin (Andre Flynn) provided a little comic relief, albeit whilst simultaneously being very unnerving. Winston was played earnestly and in a very understated manner by Matthew Spencer, which seemed fitting for such a tricky character and ensured he remained relatable throughout the performance. The chemistry between Spencer and Janine Harouni (Julia) was mesmerising, particularly in their first sex scene as they tore up the seemingly bland box set. 

However, it was the set that proved to be the most incredible aspect of the play, as it slowly started to collapse as Winston grew more rebellious; with costume as well becoming increasingly dishevelled as the situation unravelled. The video relay used throughout was particularly effective, adding an extra level of voyeurism as well as increasing the capability of the stage space. Frequently the audience were shown a live-stream of Julia and Winston in the ill-fated room in the antique shop. The absolute highlight of the show for me was the total disintegration of the previously standard-looking box set, as it exploded into a projection of computer coding and a white cavernous space. This scene was incredibly reminiscent of The Matrix, as Winston’s world broke away to reveal the reality of the situation. I shall not spoil how Icke chooses to depict the torture scenes, nor the infamous Room 101, but for an Orwell fan, it was a total thrill to watch. 

This production has a certain meta-theatricality to it, with an intriguing framing device as Winston’s diary is examined by characters living in the late 21st Century. Whilst initially a little unexpected, the final scene contained a particularly powerful line, as these characters reflect on the actions of the play:

‘This drama that we have played out will continue to be played out generation after generation’

Matthew Spencer is captivating as WinstonManuel Harlan

In our world today, these words only solidified for me how prevalent and necessary a story 1984 continues to be.