Northern Ballet brings Jonathan Watkins’ ambitious take on Orwell’s
famous novel to London this week. A brave move perhaps to take on the challenge
of conveying a story that is so embedded in the written word through a non-verbal
art form. Big Brother’s eyes are fixed not only on the dancers but often also
on the audience, Simon Drew’s designs creating a circular experience. The look
of the piece, for me, is one of the strengths of the production – minimal sets
with sharp lines transform easily into various locations, screens ever present,
watching. The dancers for the most part in blue uniforms, dancing as one under
the control of Big Brother transform from obedient workers to angry crowds.
The subtlety of the movement separates the brainwashed from the
rebels, the occasional view of a free, loose dancer in deep red/brown costumes
contrast beautifully to those trapped within the system. Winston and Julia are
conspicuous by their fluidity of movement, a thin strip of red around her waist
marking her out as a rebel. The corps de ballet moments are aesthetically
pleasing, their virtuosity clear amongst the uniformity. It is, however,
Winston and Julia’s passionate pas de deux that captivates. Seemingly free from
the constant surveillance their movement becomes lucid, they embrace with the
ferocity that the breaking of restrictive chains brings.
Their fantasy cannot last long however, and act two brings a darker
tone to the evening. The climactic scene in Room 101 is perhaps not as intense
as one might hope but it is not without its merit. Tobias Batley makes Winston’s
terror palpable and the vision of Julia’s form tantalizingly close in his
moments of despair is moving. The dancers as ever give a sterling performance
and the cold set and music help to build atmosphere. Perhaps it would have been
a more powerful scene had the other characters been more developed earlier in
the evening.
As a relatively short piece it could benefit from slight additions
to bring extra depth and detail. Although familiar with the story I felt it
would have been confusing for those who weren’t. A greater sense of
intimidation and claustrophobia would enhance this telling. The play of the
same novel performed at the Playhouse Theatre last summer left me feeling
somewhat traumatised, this ballet allowed me space to enjoy some lovely
choreography but did not have such a lasting impact. As commented earlier,
dance is a difficult medium to translate 1984
into and although not perfect this is certainly a quality work.