Lost In Transit, a Manchester-based theatre collective, performed George Orwell’s 1984 to thunderous applause at Sheffield University Drama Studio on Tuesday night. Written by Peter Kerry and directed by Jonny Cordingley, this adaptation elevates the story of Winston Smith (Rupert Hill) in the most intense and unfiltered way. Set in the dystopian Oceania, Smith works as a low member of Big Brother’s Party, attempting to evade capture by the Thought Police for his rebellious beliefs. He begins a forbidden love affair with Julia (Katie Marie Carter) as he seeks to find out whether elite Party associate O’Brien (Christine Mackie) is truly a spy for the collusive Brotherhood agenda.
This production was written to immerse the audience in a huge way. Before the performance even began, we were embroiled in the world of Big Brother. Questioned and eerily observed by the child actors, I felt a greater sympathy for Winston and the dystopian policing he was subject to. Further, I loved the direct appeal to the audience throughout, contributing to a shared understanding of deceit, and the risks posed by Big Brother. There were also times that the actors seemed to suddenly observe us watching them. My hair stood on end as I realised we were emulating the surveillance of the Party’s telescreens.
The acting throughout was excellent. I was consistently beguiled by the intensity of the actors’ movements, and the sincerity of each word spoken. The cast collaborated in such a way that offered a perfectly balanced performance: Hill and Mackie brought the solemnity, Carter the buoyancy, and Jordan Reece and Dominic Weatherill the strained hilarity. In particular, I enjoyed the chaos of the characters speaking over one another, which emulated the intense atmosphere of the Ministry of Truth.
Furthermore, I thought the use of props was superb. Screens were utilised to obscure our vision and make us feel protected. However, they also contributed to the illusion of power, and the suspicious element of the story. This was particularly powerful towards the end of the play when Winston’s contorted face was flooded with light, and O’Brien’s figure stood indistinct behind the screen. This contrast reflected the themes of disorientation and truth interwoven throughout 1984. The disconcerting nature of the performance was exacerbated when Winston read from his diary. Illuminated, he would speak to the audience as the other characters moved in slow motion across the stage, creating a shared feeling of apprehension.
Lost In Transit’s adaptation of Orwell’s great work is nothing short of phenomenal. Not only are you watching the show, but you feel directly enmeshed in the events of the story. It was utterly perfect!
Rating: ★ ★ ★ ★ ★
