It is 1984, though not the one audiences are familiar with. A new 1984, imagined by George Orwell where all are monitored continuously by screens in every room. This world is under the control of a totalitarian government known as “The Party” and its mysterious leader Big Brother, who watches every action, every conversation, and every thought. Dreams? Not safe either. Come and watch Ryan Craig’s adaptation of 1984 at the Cambridge Arts Theatre this week and discover the truth. But is it really the truth?

1984 photos credit Simon Annand

Winston Smith (Mark Quartley), comrade 6079, spends his days rewriting history at the Ministry of Truth as part of The Party’s extensive censorship machine. He is good at his job but behind the mask he harbours a deep resentment of the state and secretly longs for rebellion. It starts with a diary, but when he comes across Julia (Eleanor Wyld), a young free spirited anarchist, his Thought Crimes escalate into treason. Wyld as Julia performs with passion and drive, portraying Julia’s inner conflict between her enjoyment of light rebellion versus joining the fight in full force to the point of no return. The two start an illegal affair and, with Julia’s encouragement, Winston becomes emboldened in his desires for freedom, ultimately leading to their capture and imprisonment at the Ministry of Love, where they are made to confess to their crimes.

Justin Nardella’s set is the pièce de résistance of the production. Big brother is always watching before the show has even started. Cameras are everywhere. Watching the audience as they walk in, as well as providing intrusive and voyeuristic angles of the actors on stage. A large projection of a screen takes up the space, and throughout we see characters interact with interfaces or have video calls with various other characters (including Finbar Lynch, Mathew Horne, and Nicholas Woodeson). Great direction here by Lindsay Posner, with snappy responses that makes the pre recorded interactions seem as if they are happening live. Furniture is minimal, allowing for smooth scene transitions with little details to truly draw us into the world. An example of this is Winston’s bed with the Victory Party logo integrated into the metal frame. With this set, the wings are wide open and visible to audiences. It may just have been a quirk of the venue but, choosing to read intention into it, it reflects the state of Oceania where nothing can be hidden. Not even the actors. O’Brien (Keith Allen) in particular is a recurring presence offstage, calmly watching. Waiting. The all-seeing eye of The Party watching the rebellion unfold in real time. A nice touch, even if not intentional.

Mark Quartley’s incredible portrayal of the downtrodden Winston fills the audience with pity and a great desire for his suffering to end. We truly believe his hatred for The Party and it is painful to see him gain in confidence and optimism while his inevitable fate sneaks up behind him. In the second half his performance is electric, if you’ll pardon the pun, but there needs to be slightly more distinction between level 0 and level 100, or 800 in fact. Despite this note, some scenes were incredibly hard to watch, which is a good thing. Winston is joined by his neighbour Parsons (played with a charming naivete by David Birrell), a simple family man and devoted member of The Party who receives a similar fate thanks to his young daughter’s enthusiasm for being an informant. Parsons serves to show that even the most dedicated citizens aren’t safe from the wrath of The Party.

At the helm is O’Brien, the mysterious inner party leader. Allen commands the stage, with the audience hanging off his every word. In total control. His restraint in earlier scenes makes way for an explosive performance as the production leaps towards its climax.

Speaking of. Those who are familiar with the production or the book will recognise the infamous Room 101 scene. The squeaking, scrabbling of rats, louder and louder as Winston’s panic reaches unbearable levels. The choice to have this all in complete darkness heightens the other senses of the audience, making them squirm in their seats as the cacophony reaches its peak. Then, a screen assisted jumpscare. This is the only instance in which I feel that the use of video is a bit of a cop out. All I want for Christmas is just a glimpse of the dreaded rat mask in the flesh. I’m nitpicking, but that would have tipped this scene over the edge for me into flawless territory and true horror. However, overall an excellent rendition of this iconic scene. Double plus good.

Studies show that 1984 is the most common book that people lie about having read. Don’t let that be the case with this show! Theatre Royal Bath’s production of 1984 is faithful, haunting, and an absolute must-see. Come and watch; Big Brother will know if you don’t.