It starts with a spoken quote from a voice that sounds like German filmmaker Werner Herzog about how stupid chickens are and how easy they are to hypnotise. Thereafter follows an actor walking down the middle stairs at Fairfax Studio with a serious expression on his face carrying a rubber chicken. When he reaches the stage, he squawks and the lighting fades to black. We know we are in for a riotous political satire, an adaptation of George Orwell’s classic Russian allegory (published in 1945), this time with a sharp Aussie twist.
The story is still set on Manor Farm, but this Manor Farm, renamed Animal Farm, is in rural Australia, not in the UK. Still, like the original, the animals rebel against their treatment by farmer Jones (Sam Nix) and send him into exile. They want to create a society where all animals are equal and free from human vices and intervention. Even though they put rules in place (the commandments of Animalism), following them is another matter.
A power struggle ensues between boars Napoleon (Elizabeth Brennan) and Snowball (Laura Aldous). Eventually, Napoleon emerges victorious, only to compromise on the values he fought for, leading the animals to oblivion. But, ahead of that, Napoleon is hauled before a Senate Select Committee. He is asked to explain why he abrogated the terms of a government contract and spent money like a drunken sailor.
It is a rowdy affair with Senators biffing among themselves and Napoleon at first represented by a proxy, being his communications head, Squealer (Lauren Swain). Squealer struggles to provide any straight answers, before an unfazed Napoleon suddenly arrives, preaching largesse. All animals are equal, but some are more equal than others.
Also in the picture in this production are powerful, hardworking cart horse Boxer (Syd Brisbane) and vain, young white mare Mollie (Anna Louey). Then there is not too smart chicken Bon Bon (Edan Goodall), along with other roles filled by James Malcher.
The performances are uniformly strong – commanding, amusing and engaging. I enjoyed the interplay between Brennan and Aldous, going toe to toe as Napoleon and Snowball (they bring attitude), while Syd Brisbane is endearing as Boxer. Anna Louey immediately makes her mark as the show pony Mollie, while Edan Goodall delivers as the simpleton Bon Bon.
Among the action sequences that play out are milk guzzling, dry oat munching, champagne sipping and tinsel confetti explosions, as not all animals survive the maelstrom. A series of musical stings separates scenes, while Bloomshed’s Animal Farm also features an attractive jazz score and up-tempo dance sequences. Justin Gardam is responsible for the sound design and dramaturgy, while the original script – clever that it is – is the domain of Elizabeth Brennan and James Jackson. John Collopy takes care of the mood lighting.
The two step, wooden set design is the work of set and costume designers Nathan Burmeister and Samantha Hastings. More casual attire gives way to suits and ties for the formal Senate Select Committee hearing. So it is that the slogans no longer fly, the dream of autonomy becomes a nightmare and the revolution meets an ugly demise. The pigs may have seized control, but the porkers they tell are beauties. Greed and hubris are ugly masters.
Seventy minutes without interval, see Animal Farm is a whole, new, contemporary light. It is on in the Fairfax Studio, at Arts Centre Melbourne until 22nd August. It then moves to Canberra Theatre Centre from 3th to 5th September, 2026.
Alex First
Other reviews you might enjoy:
- Pride and Prejudice (Bloomshed), at Merlyn Theatre, at Malthouse Theatre – theatre review
- A Dodgeball Named Desire (Bloomshed) – theatre review
- Peter and the Starcatcher (Arts Centre Melbourne) – 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.