Immersive 1984 – Hackney Town Hall, London

Adaptation: Adam Taub

Director: Jack Reardon

George Orwell’s 1984 is perhaps the most well-known social-political commentary of the past century. Its central message remains worryingly relevant as governments come in and out, and the story has been adapted and re-adapted all over the world. And now, at the tail end of 2024, you can experience Orwell’s dystopian Oceania in the imposingly beautiful Hackney Town Hall.

There is something exciting about the idea of 1984 in a local government building. There is so much to say about the relationship between big and small government, surveillance and control and the role of a political party. Unfortunately, Adam Taub’s slapdash adaptation doesn’t say any of it. In its bracingly short 75 minutes, we are shown the ritual of hate in the main hall location, marched up to the stunning councillor’s chamber where the premise of the show is explained for about ten minutes, and then brought back down for the bulk of the show which is a quick speed through Winston and Julia meeting, falling in love and then a long and protracted torture scene. The numerous issues with the choices made here are immediate and hard to ignore.

The most obvious are Winston and Julia. In the novel, two brow-beaten party members, secretly dreaming of revolution, commit acts of defiance by having an un-sanctioned affair and attempting to discover the underground dissident group called The Brotherhood. When they are captured and tortured, their resistance is not one of romance and loyalty but one of revolution, of keeping your own mind despite the oppressive powers that seek to change it. None of this is explored in this immersive production. Winston and Julia meet; she immediately declares her love for him. We are shown over-the-top romance scenes that use the same brand of sensuality found in a women’s razor ad to convince us that these two people are suddenly in love and willing to risk their personhood for one another. Essentially, it removes all of the politics from one of the greatest political narratives in literature. To reduce 1984 to a 40-minute torture scene complete with hastily applied stage blood and clumsy fighting is to remove all of the heart and bite from the story.

The production also severely under-delivers on its promise of immersion. There are infirm attempts at world-building in an audience discussion pre-show and in half-hearted moments of decision given to us (although no time is actually given to respond, nor are we given much reason to respond.) All audience members have the same experience, although there are hefty upcharges for better sightlines despite most of the show happening in the unreserved main hall. It all feels like a capitalist cash-grab that would have the socialist Orwell spinning in his grave.

Luckily, the production is saved by some well-executed stagecraft and robust performances. The use of video, in particular, designed by Dan Light, is phenomenal. It adds a real modern twist to the familiar autocratic surveillance state, and the vision is well executed by a talented ensemble cast. Joe Anderson brings a stoic charm to Winston’s dissidence, and Dominic Carter as O’Brien is insidiously friendly.

Unfortunately, this production misses the mark as neither time nor care is given to the lead-up to the action. Politically toothless and emotionally hollow, it’s unclear what this production of 1984 is bringing to the canon of work surrounding the novel.

Runs until 22 December 2024