This show finished on Saturday 12 October 2024, and this page is being kept for archival purposes only.
Wednesday 09 October - Saturday 12 October 2024
£7/8/10 + £1 booking fee
The Edinburgh University Theatre Company presents 1984 - Adapted by Robert Owens, Wilton E. Hall Jr. and William A. Miles Jr., based on the novel by George Orwell.
The world as we know it has been destroyed and rebuilt as a police state, in which free thinking is not allowed. Those who are caught disobeying the orders of Big Brother, a supposedly all seeing political leader and the biggest propaganda mascot of Oceania, are publicly executed or disappear in the middle of the night.
Our story follows Winston Smith and Julia, who dare to love each other in this post apocalyptic hellscape. In a story of forbidden love, violence, and resistance, we will see what happens when two people try to escape the system, and finally find out what’s inside of room 101.
Utilising live cameras and video manipulation, this interactive interpretation of the infamous novel will leave audiences fully immersed in the terrifying reality of a totalitarian regime.
Please Note: This is an interactive production, in which the cast members will directly address the audience. Audience members may be spoken to, asked to move, and filmed.
Actor (Big Brother) Thaddeus Buttrey
Actor (Coffee Vendor) Ece Yarasik
Actor (Goldstein) Dan Bryant
Actor (Guard) Dylan Kaeuper
Actor (Guard) Fergus White
Actor (Loudspeaker / Guard) Molly Gilbert
Actor (Martin / Guard) Rose Sarafilovic
Actor (Messenger) Amelia Duda
Actor (O'Brien) Robbie Morris
Actor (Parsons) Will Grice
Actor (Syme) Sam Gearing
Actor (Winston) Harry Foyle
Costume Manager Millie Franchi
Director Hunter King
Intimacy & Fight Director Rebecca Mahar
Lighting Designer Tom Beazley
Producer Amy Stinton
Projections Manager Lewis Eggeling
Set Manager Lucie Benninghaus
Set Manager Louis Taylor
Stage Assistant Cal Hind
Stage Assistant Non Steel
Stage Manager Azalea Drace
Tech Assistant Sophie Bendon
Tech Assistant Dorian Toms
Tech Assistant Lily Murphy old
Tech Assistant Abi So
Tech Assistant Lee Newman
Tech Assistant Lily Goodchild
Tech Assistant Lily Murphy
Tech Manager Moses Brzeski-Reilly
Vocal Processing/Recording Engineer Luke Hardwick
Welfare Contact Fiona Connor
Thursday 11 October - By Susan Singfield for Bouquets & Brickbats
George Orwell’s dystopian masterpiece has loomed large over 2024 for us. In April, we listened to Audible’s star-studded ‘immersive’ audio adaptation, where Andrew Garfield, Cynthia Erivo, Tom Hardy and Andrew Scott brought Oceania memorably to life. Immediately afterwards, we both read Sandra Newman’s Julia, a reworking of the novel from the lead female’s point of view. And today we’re here at Bedlam Theatre, ready to see EUTC’s interpretation of the cautionary tale.
The use of screens projecting both pre-records (Lewis Eggeling) and live video (Tom Beazley) is inspired: there can’t be many stories more suited to a multi-media approach. The scene is set as soon as we enter the theatre: Big Brother (Thaddeus Buttrey) is watching us, a close-shot of his eyes filling the back drop. Instead of ushers, there are guards (Molly Gilbert, Rose Sarafilovic, Dylan Kaeuper and Fergus White), forbidding in their black uniforms, scarfs covering their lower faces. “All hand-held telescreens must be switched off,” one intones; “Silence!” bellows another. Predictably, we all comply.
This adaptation (by Robert Owens, Wilton E Hall Jr, and William A Miles Jr) generally works well, plunging us immediately into the middle of the story. What used to be Britain is now part of Oceania, a sprawling dictatorship led by Big Brother, its impoverished citizens ruled with an iron rod by the unforgiving Party. By falling in love, Ministry of Truth workers Winston (Harry Foyle) and Julia (Francesca Carter) have broken the law and, having crossed that line, find themselves increasingly unable to swallow the propaganda they are fed. But what chance do they stand against the all-seeing apparatus of the State?
Director Hunter King does a great job of establishing a sense of threat, as well as highlighting the fragile humanity that endures, despite Big Brother’s best efforts to quash it. “They can make us say things,” as Julia acknowledges, “But they can’t make us think them.” As the central duo, Foyle and Carter both deliver flawless performances: Winston and Julia are convincingly reckless, persuading themselves that they are less vulnerable than they really are, caught up in the excitement of their affair. The story is so well known that there is a dramatic irony not present in the original plot, and King exploits this effectively, so that we find ourselves grieving for the couple even as their relationship blooms.
Robbie Morris is clearly having a whale of a time as smarmy backstabber, O’Brien, member of the Inner Party and chief snarer of the unwary. He plays the role as a kind of archetypal villain, complete with maniacal laugh, which makes for an interesting counterpoint, highlighting the freedom that comes with privilege: this is not a man who has ever felt the need to hide or even mute his feelings, unlike even the most loyal Party members. The only other character who seems uncowed is the landlady (Raphaella Hawkins), who owns the apartment Winston and Julia rent for their illicit lovemaking. As a Prole, she has a certain kind of liberty, born of being so poor and lowly that she’s considered unworthy of attention. It’s a dubious advantage.
As we’ve come to expect from Edinburgh University’s student shows, this is an impressive piece of theatre. I especially enjoy the fight sequences, directed by Rebecca Mahar, which are horribly credible and more brutal than I’m used to seeing on stage, ramping up the horror of this too-close-for-comfort imagined world. If I have a criticism, it’s more about the script than this production – there are a lot of actors without much to do, and I think more could be made of the ensemble. I’m also not sure why Winston and Julia get married – that’s not in the book and it doesn’t seem like there’s any dramatic purpose for the change.
That aside, EUTC’s 1984 is remarkable from start to finish, with even the final bows making a statement. It’s double-plus good.