In a sickeningly visceral performance, the Edinburgh University Theatre Company allowed Big Brother inside the converted church from 9th-12th October in an immersive experience which will stay with attendees long after they leave. Under the direction of visionary Hunter King, this production of 1984 understood the claustrophobic terror at the story’s core through an atmosphere which began before even setting foot in the auditorium: guards waited at the end of a propaganda plastered corridor and patrolled the audience as they sat, with live footage of the room interspaced with the glare of Big Brother (Thaddeus Buttrey) projected on the walls. Both observing and intently observed, the unsettling experience of the audience could not have been made more appropriate.
While unavoidably overshadowed by the unfettered brutality of the second act, the first act is not without its merits; the various intermissions of audience targeted propaganda were entertaining, and suitably belied the darkness of its meaning into which the play descended. Julia was truly done justice in Francesca Carter’s portrayal, which was as sympathetic as it was charismatic which gave all the more significance to her physical fight with the Thought Police upon capture; this is where the true terror of the story began, and it felt right that Julia should evoke this.
The visuals beyond this point were designed expertly by Tom Beazley as disturbed imagery interspaced with doomed motives flashed upon the screen, which eventually crawled up the walls to cover the whole theatre while Winston (Harry Foyle) writhed upon the floor. All the while, O’Brien (Robbie Morris) loomed over proceedings in a distinctly unique, far more volatile performance than expected from the character. This approach brought a terrifying intensity to Winston’s conversion as O’Brien screamed and kicked compliance from him, with these performances and the visuals culminating in the absolute standout 2+2=5 scene as Winston’s hopelessly refutes the endlessly repeating statement. The torture of Winston was hauntingly visualised with such sympathy and intimate knowledge of the character that I truly understood his actions in a way I never before have, and progressed in brutality with such stomach-turning intensity that shocked tears into the eyes of the audience at its climax.
Culminating with the most miserable, in-character bows I have ever seen, King’s realisation of 1984 understood the constriction of its world, the power of absolute terror and, most importantly, the sickening pit in your stomach it should leave you with. Disturbing without restraint and truly captivating.
Image by Andrew Morris provided by EUTC press release