Animal Farm – Stratford East, London

Writer: George Orwell (adapted by Tatty Hennessy)

Director: Amy Leach

The newly adapted Animal Farm is an exciting production that fully utilises almost every element onstage. It is both insightful and enjoyable.

This theatrical adaptation of Animal Farm is based on George Orwell’s novel of the same name, celebrating the novel’s 80th anniversary (and there are at least two other productions playing at the moment). Adapted by Tatty Hennessy, Stratford East’s version retains the main storyline of the original work while enhancing its theatrical impact by focusing on key conflicts and central characters. Similar to the novel, the play follows the rebellion of the animals against Farmer Jones and depicts the rise and fall of Animal Farm. Moreover, it adds another narrative layer by introducing new characters and deeper insights into each animal’s personalities, engaging the audience and encouraging them to explore the story and the animals’ lives with curiosity.

The transition from the written text to stage requires a collective effort from the entire creative team, and Animal Farm demonstrates their unity, mutual understanding and energy. Set and costume designer Hayley Grindle creates diverse settings using minimal materials. The stage is vertically divided into two sections: the upper level represents the humans’ indoor living space, while the ground level belongs to the animals.

The contrast and connection between the two are conveyed through movement, lighting and interactions between characters across different levels. Additionally, the main props consist of cubic metallic frames. Though abstract in appearance, they are multifunctional across different scenes, serving as fences, cages and even a coffin.

Costume design also plays a crucial role in the production’s visual storytelling. It is both surprising and convincing to see Clara, the hen played by Brydie Service, dress in a loose blue suit with a yellow wristband. The clothes that people often see at the hospital symbolise her struggle and vulnerability as a mother desperately trying to protect her eggs.

The actors’ performance emphasises physicality. Animal Farm seamlessly integrates British Sign Language (BSL) into the performance. The use of BSL feels so natural that it does not appear as an additional feature but rather as an inherent part of the storytelling. This integration could inspire more theatre productions to embrace greater accessibility in their creative processes.

Each actor utilises their voice, body and movement to embody the distinct characteristics of different animals. However, as all the animals are present onstage from the beginning, it may take a few minutes for the audience to distinguish each performer’s role. Once they do, the production effectively crafts a dynamic mise-en-scène through the actors’ movements and the stage design. For instance, after Clara is forced to sell her eggs and breaks the eggs, several animals gather to console her, while Benjamin, the donkey played by David Nellist, silently wipes the floor behind them. In this moment, the sorrow of a grieving mother and the compromise of an elder coexist powerfully.

The production also features repetitive fight scenes, combining slow motion with dim lighting. While similar in structure, these scenes are varied enough to keep the audience engaged. Additionally, the introduction of the new character Milo (Em Prendergast) adds comic relief, lightening the intensity with well-timed quips. Moreover, the music, including the theme song and the drumbeat that indicates the cruelty of Animal Farm, seamlessly enhances the performance.

Although stronger visual cues for each animal might help the audience focus on the story with more ease, Animal Farm demonstrates the vast possibilities of novel adaptations and promotes a more inclusive approach to theatre.

Runs until 8 March 2025