Writer: George Orwell
Adaptor: Tatty Hennessy
Director: Amy Leach
When George Orwell wrote Animal Farm 80 years ago, it was against the background of a changing post-war 
world and the rise of Stalinism; it drew attention to the struggles of the working class and the gulf of inequality that was forming. In 2025 these themes are still relevant. With the exemplary work of adaptor Tatty Hennessy and director Amy Leach, the spirit of the original remains but the focus has shifted towards the more contemporary themes of equality, loyalty and family. The adaptation is fresh and exciting but brutal in its honest depictions of terrible themes such as societal neglect, violence and forced labour. Despite the feeling of dread that pours from every monologue and the loud crack of the farmer’s whip, there is hope, hope for a better life and a more accessible life for all.
This performance of Animal Farm is striking from the first minute using smoke machines and lighting to set the mood, with the thunder-like crack of the whip to ensure the audience is paying close attention. The set, designed by Hayley Grindle, brilliantly displays the Farmhouse, high on steel girders and surrounded in glass, giving us a view into the two sides of the production, the animals in the muck below and the humans in comparative luxury up above. The simple application of props is an excellent addition to the performance: metal cages represent everything from farming machinery to large stones before doubling as places to sit and even a coffin.
The costumes on display are another piece of design mastery by Hayley Grindle. The choices of clothing work as hard as the subtle labelling to ensure that the audience knows who is who and which animal they are portraying. Whether it’s a donkey in a donkey jacket or a prize horse in a dressage uniform, the costume choices help to sell the illusion of animals on stage despite this adaptation deliberately avoiding the use of masks.
The whole ensemble of Animal Farm is magnificent, making it a near-impossible task to pick a stand-out when they all perform so admirably. They are more than just actors in this performance; they are singers, dancers – some are even acrobats. But most impressive of all, they are experts in making convincing animal noises. The character of Old Major not getting more time on stage is frankly criminal. Everal A Walsh’s opening monologue lights the fires of rebellion and tugs at the audience’s heartstrings. With his wonderful singing voice, he introduces us to Animal Farm’s anthem. It is understandable but a real shame that he doesn’t stick around longer. The characters of Napoleon the Pig and Boxer the Workhorse are both sensational and memorable but for very different reasons. Napoleon, played by Tachia Newell, is full of hubris and arrogance, anger and aggression; he embodies the villain expertly. By contrast, loyal Boxer, played by Gabriel Paul, just wants to leave a mark on the world and work hard to be remembered. We relate to his determination, his work ethic and his honest approach to life and existence.
A special mention for Tianah Hodding who plays the mare Clover in a beautifully emotive way whilst also leading the rest of the ensemble in signing the majority of their lines to make it accessible to all. This is a theme of this production, working with British Sign Language consultant Stephen Collins and Audio Description Consultants Vicky Ackroyd and Esther Irving, the aim of this production and its cast and crew seems to be welcoming everyone to experience a classic tale with its still relevant themes.
Overall, the performance of Animal Farm is spectacular. Filled with emotion, not only harrowing in its depictions of hardship and toil but also, with hope and joy as we watch the animals form a new flock, running and leaping amongst the fields. And even amongst the hard-hitting speeches and monologues, the play manages to inject some humour into the experience, mostly coming from David Nellist who plays Benjamin the Donkey with a quick wit and dry-as-a-bone delivery that gets the audience laughing at his Eeyore-like apathy. This show is one that should be experienced by all, adapting a somewhat inaccessible source material into an exciting and thought-provoking play. It well and truly keeps the classic alive and kicking in modern times.
Runs until 12 April 2025
