ANIMAL FARM. To 21 July.

Bath

ANIMAL FARM
by George Orwell adapted by Peter Hall lyrics by Adrian Mitchell

The Egg To 21 July 2007
Mon-Sat 7.30pm Mat Tue 10.30am Thu 1.30pm Sat 2.30pm
BSL Signed 19 July 1.30pm
Post-show Talk 19 July 1.30pm
Runs 2hr 10min One interval

TICKETS: 01225 448844
www.theatreroyal.org.uk
Review: Timothy Ramsden 13 July

Terrific and terrifying.
Peter Hall’s annual Bath repertoires give a new flavour to the term ‘summer season’; this year they extend, with Rachel O’Riordan’s vivid revival of Hall’s George Orwell adaptation, to the Theatre Royal’s new, intimate children’s space The Egg, round the corner from the main-house itself.

Though there’s nothing childlike about Orwell’s “fairy-story”, as it’s called by the child-reader who frames the action, and who finally stands viewing the horrors this political parable visits upon humanity. So powerful is the threat lying within the pigs which lead the animal rebellion to evict farmer Jones, that even the bloody smashed eggs and rivulets of blood which subsequently flow over the stage are less fearful than the variously cowed or strutting characters.

Psychological terror underlies events. The blood and glaring light accompanying deaths punch home the dehumanised fear behind the show-trial confessions of collusion with a manufactured enemy. Similarly, the looming, gas-masked, chain-rattling attack-dogs with which practical pig Napoleon consolidates his reign of terror carry their main impact through the fear they instil in the previously confident farm creatures. (Adrian Mitchell’s lyrics impose the view of Napoleon as a runt making up for his humiliated youth, the only jarring note with the pig-boss’s temperament.)

The acting is uniformly excellent. The bewilderment of Steve Ansell’s Stakhanovite work-horse Boxer, physically towering over everyone, mentally plodding along, creates a sympathy which increases the fear. It’s there too in the creatures’ gradual refusal to sing or express opinions as Steven Casey’s Napoleon moves from merely cutting-through arguments to implied threats, his porcine snorting growing ever longer, fiercer and more frequent.

By contrast his spin-doctor Squealer is forever smiling, improvising answers with a confidence that seems greater the emptier they become in Tony Flynn’s active performance, often placed midway between the animals and Napoleon’s increasing use of the top balcony.

There’s no political comfort for capitalism here. Orwell hated Soviet Communism for obstructing real Socialism. When Napoleon consorts with human farmers, they congratulate him on his iron control of the workers. As they swill whisky above and the animals cower, concealed, below, Orwell’s devastating vision hits forcefully home.

Boy: Brixton Hamilton/Jack Lawrence
Mr Jones/Benjamin: Neil Salvage
Old Major/Moses/Mr Pilkington: Claude Close
Boxer: Steve Hansell
Clover: Sarah Groarke
Muriel: Claire Storey
Mollie/Minimus: Rebecca Jackson
Snowball/Mr Whymper: Matthew Woodyatt
Napoleon: Stephen Casey
Squealer: Tony Flynn
Stablehand: Joe Reynolds

Director: Rachel O’Riordan
Designer: Hayley Grindle
Lighting: James Whiteside
Sound: Pip Thurlow
Music: Richasrd Peaslee
New Music/Musical Director: Conor Mitchell
Assistant director: Quin Golding

2007-07-16 09:29:32