Director James Dacre and adaptor Dawn King’s version of Aldous Huxley’s 1931 novel, Brave New World’s title is taken from Shakespeare’s the tempest. Brave New World opens with a very bold and believably unemotive figure of The Director played by James Howard in the baby creation chamber.
Breaking down the fourth wall the director welcomes the audience as new trainees. Involving the audience this way gave an inclusive yet uncomfortable participative role right from the start. The three white figures behind him are reminiscent of angels bringing forth the new born from a genetically manipulated baby machine.
The original work was written in the shadow of the end of the First World War. In his novel Huxley challenged the utopian and somewhat fascist ideals of a global totalitarian society, where instead of control by fear, peoples dissent is eradicated through an empty form of happiness.
Lenina was perfectly played by Olivia Morgan as she cleverly embraces this role and draws us into her character’s conflicting dilemma. The designers seemingly have worked closely to merge lighting, sound and video to support the action on stage. The music was presented by These New Puritans and kept to an upbeat, techno, current vibe. Multiple screens depict messages reflecting media influence and highlight manipulating affects on society.
William Postlethwaite played John the savage who portrayed an emotionally-charged, tormented outcast. Citizens no longer of use to society after reaching the age of 60 are put into an ‘eternal sleep in an enforced SOMA happiness’.
Brave New World was thought provoking and of extreme relevance to own our influences within a technological culture. This play exposed the removal of free will by a ruling elite and hinted at how terrifying an idea this might be.
Reviewed by Greg Robinson on 1 December 2015, runs at Alhambra Theatre until 5 December