While I sincerely wish it weren’t so, the power struggles the proliferate globally ensure that Shake & Stir’s brilliant adaptation of George Orwell’s prescient and dystopian novel 1984 appear chillingly real. We are in Oceania, where Big Brother rules with an iron fist. What BB says goes. If he says 2 + 2 = 5, then so be it, 2 + 2 = 5.
All society is expected to fall into lock step and any deviation will be met with interrogation and vaporisation. Death is inevitable for those that choose not to toe the line, be that in word, deed or thought. For rest assured, the thought police are always watching and waiting. That is the contention in 1984.
Winston Smith (Michael Whalley), 39, is an editor at the Ministry of Truth and despises totalitarian control. He writes his thoughts into a diary, expecting to be found out at any moment. He recollects that seven years ago an influential member of the inner party, O’Brien (David Whitney), spoke with him in tranquil surroundings. O’Brien told him they would meet again where there is no darkness. He clings to that memory.
Winston is understandably suspicious of everyone. That includes fellow workers Syme (Abhilash Kaimal), who is trying to change language, and the disagreeably effusive Parsons (Steven Rooke). Meanwhile, Winston is convinced that Julia (Chloe Bayliss) has it in for him.
He risks being caught by visiting the impoverished manual labourers of Oceania. They are known as the Proles and constitute about 85 per cent of the population. If they could ever get their act together, Winston believes they could form a formidable force to rebel against the oppressive regime. Though the truth is, that isn’t going to happen.
On the way back to more familiar territory, Winston notices an old junk shop from where he bought his diary and is captivated by the “treasures” within the store. The owner, Charrington (Abhilash Kaimal), who inherited the place from his father, shows Winston more old-world delights in the fully furnished apartment above. In time, it is where a clandestine love affair will flourish.
With Big Brother continuing to sell the conceit of Oceania securing a series of heroic war victories, appearances can be deceptive. The people with whom Smith comes into contact may not be all they purport to be. Winston is about to be tested like he has never been tested before, as Big Brother flexes his considerable might and muscle. The ultimate showdown will be in the most feared space of all, Room 101.
Skilfully adapted by Nelle Lee and Nick Skubij and directed with distinction by Michael Futcher, 1984 is tense and intoxicating throughout. We, the audience, are led on a journey into the abyss, in which an odious fate awaits. Everything about this production is top shelf. It is polished, most accomplished and compelling.
The five actors, most of whom fill multiple roles, do not miss a beat. They are outstanding, with not a word out of place or an expression missed. Michael Whalley brings anxiousness to fatalist Winston Smith, while Chloe Bayliss is willing and energetic as the sexually expressive Julia. David Whitney is formidable as the calculating O’Brien. Abhilash Kaimal is reflective as Charrington and driven as Syme, while Steven Rooke is decidedly grating as Parsons is called upon to be.
The paranoia created by the offering is undoubtedly aided by Craig Wilkinson’s foreboding video design, big screen actors heightening the ever-present threat. The masterful bleak set design by Josh McIntosh has hidden “pockets”. Sound designer Guy Webster and lighting designer Jason Glenwright exploit the dread inherent in the dialogue.
As the metaphorical curtain fell, I was left with the uneasy feeling that if exploitation is enabled, it can only grow and prosper. Such is the impact of a magnificent production that channels real world 2025. 1984 is on at Comedy Theatre in Melbourne until 6th July, before touring throughout Australia until 9th November, 2025.
To get more information and to buy tickets, go to https://shakeandstir.com.au/mainstage/1984#touring-dates
Alex First
Other reviews you might enjoy:
- 1984 (touring) – theatre review
- Mary Shelley’s Frankenstein (Princess Theatre) – theatre review
- My Brother, My Brother, My Brother (theatre review)
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
