The world’s first ballet based on George Orwell’s dystopian 1948 novel benefits from an exacting and masterful direction by Jonathan Watkins and an awesome design to die for. This is a total theatre that is thoroughly engaging and whilst not intended to be contemporary could indicate a not-so-distant tomorrow. The premier dancers – Tobias Batley as Winston and Martha Leebolt as Julia – give fabulous performances that peak in a pas de deux par excellence at the end of Act One. It is a passionate dance sequence that celebrates their love in all its sexual sensuality.
But it leaves two things unanswered: firstly, are they being monitored whilst out on their countryside fling? We as an audience are certainly watching every move, hinted at by their last look behind them as they leave the stage after their fearful forbidden act of love. And secondly, is Julia a form of entrapment to ascertain how far Winston’s inner rebellion will become outward action?
But the obvious way that Winston is duped is through Inner Party member O’Brien (Javier Torres) who he thinks is a member of the subversive Brotherhood, but is later his tormenter and torturer. It is interesting the way O’Brien’s superiority is depicted by a red tie, a mirror of Julia’s red Anti-Sex League sash. His black and red designs again are contrasted against the autumnal colours of the proles and the pale grey-blues of the Outer Party (and Julia is ostensibly from the latter).
The surveillance of Big Brother is impressively depicted with a huge telescreen in pixelated images of BB, Goldstein (the enemy of the people) and war on a huge scale (though against who it depends upon the latest Newspeak). For the Room 101 scene there are no holds barred with a visual and aural onslaught that vividly captures the agony and terror Winston experiences.
Eventually, of course, he betrays most the thing he loves, gesturing desperately for the ultimate degradation be put upon Julia, after all they had been through. So does O’Brien’s vision of society as the state’s heavy boot stamping on humanity forever persist? Does Winston indeed survive and come to love Big Brother? These and many other questions of the novel are raised by this immaculate and immersive production that will remain redolent with many of us for years to come.
Reviewed by Rich Jevons on 5 September at West Yorkshire Playhouse and touring see http://northernballet.com/whats-on