Photo courtesy of Robo & Bash Productions
Reviewed by Asa Fris
Robo & Bash Productions at Theatre 68
Thru April 13
RECOMMENDED
Robo & Bash Productions’s impressive and modern take on George Orwell’s 1984 tells the story of Winston Smith (Leif Gantvoort) and his fight for freedom in an oppressive authoritarian government. Published in 1963, Robert Owens, Wilton E. Hall, Jr, and William A. Miles, Jr.’s condensed theater-adaptation spans three acts and eight scenes. Though certainly compressed, their play nonetheless expresses the core concepts in a theatrically engaging manner.
Winston Smith works in the Ministry of Truth, a section of the government responsible for the ruling party’s propaganda. He and his coworkers, Parsons (Bella Balsamo) and Syme (Grant Fletcher Prewitt), edit and rewrite documents, like old newspapers or poetry, into versions in line with party ideals. This includes changing the dates of past events and implementing an entirely new language constructed to limit the ability to express complex ideas.
Each day they’re subject to a strict routine under constant surveillance by “Big Brother,” a secret “thought” police force, and each other. So when Julia (Shelly Snellman), a stranger whom Winston has repeatedly encountered in his day-to-day life, is assigned to work beside him, Winston believes she’s a member of the thought police who’s there to catch him in a ‘thought-crime.’ But after Winston interrogates her about why she’s there, her answer is a catalyst for an impossible fight for freedom, justice, and love.
Though the script is over 60 years old, the production feels anything but outdated. Director Danny Cistone’s modern design is quite enthralling, especially given the confines of the black box space that contains no wings and two asymmetrical doors at the back for entrances and exits, yet Cistone utilizes every inch. A panel with a telescreen anchors the design, while four corner pieces on wheels are moved by the actors to form various locations (office spaces, bedrooms, etc.) Each location is full of so many tiny details and hidden functions that it’s exciting to see what might be revealed next.
Not only is the design engaging, but it innovates the productions’ devices into modern contraptions more relatable to our current society. For instance, where the co-authors envision the telescreen as a paper poster with a speaker behind it, Cistone and company are able to realize it as a television with animated announcements, videos, and other forms of party propaganda. When Syme edits poetry, he uses virtual reality glasses; and through projections and precise choreography on the part of Prewitt, we’re able to visualize exactly what he does, providing much needed clarity to a story that already introduces so many concepts. All these feats are accomplished while still maintaining the bleak, sterile, and oppressive environment of a dystopian London.
Where the production falls short is not in the physical environment, but the social environment. The characters’ behavior does not reflect the environment they exist in, specifically in relation to the telescreen, and each other. In Orwell’s world, to not scowl fervently enough during a demonstration is considered a “face-crime,” and could lead to co-workers reporting you, which results in imprisonment or death. And even when characters are by themselves, they must maintain an unwavering support of, and commitment to, whatever the party wishes. But here, the attitude and demeanor of the characters falls well short of sustained passion, and one might question why they don’t report each other to the thought police on the spot.
Furthermore, when characters engage in suspicious activities or conversations, Cistone directs them to repeatedly glance back at the telescreen, or move in exaggerated ways to hide their intentions. Should a member of the party witness this body language, it would surely lead to an immediate report. Because the decorum is underdeveloped, a certain amount of thrill is lost and the pace of the play suffers. Where a fervent and impassioned Parsons might have been a real element of danger and uncertainty, the thoughtful and even tactful Parsons we receive is not intimidating and depletes the energy of the play.
Despite the underdeveloped decorum, the performances of the cast are still enjoyable. Prewitt portrays Syme’s bumbling intelligence quite humorously (and provides a moment of terrifying vocal performance). Snellman’s portrayal of Julia is youthful, optimistic, persistent, and a great foil to Gantvoort. And Gantvoort as Winston is cynical, and yearning, and particularly impressive in the third act, where Eddie Alfano as O’Brien also shines. A standout performance is Mark Tracy as a charming, wistful, and lovely landlord.
1984 remains strikingly relevant in our own country’s growing authoritarianism, and a reauthorized ending by Cistone and company offers hope in a time of fear and uncertainty.
Robo & Bash Productions at Theatre 68 Arts Complex, 5112 Lankershim Blvd, N. Hollywood, Thurs.-Sat., 8 pm, Sun., 7 pm; thru April 13. www.theatre68.com Running time: approximately 2 hours and 15 minutes, with intermission
