ANIMAL FARM - Leeds Playhouse (13/03/24)

George Orwell was a trailblazer back in his day, most notably for his outspoken criticism of totalitarianism, and his work in dystopian fiction is some of the foremost of this genre, especially in his use of allegory. This is particularly potent in Animal Farm which, for the uninitiated, is nothing to do with farming, rather a reflection of the events that led up to the 1917 Russian Revolution. To summarise the plot, a group of anthropomorphic farm animals plan to overthrow their human overlord, with the primary motive of their rebellion being to create a society where all animals are equal, and can live freely, though this ultimately runs into a variety of speed bumps along the way.

Directed by Amy Leach, this new adaptation by Tatty Hennessy leans heavily into the brutal nature of authoritarianism, with Hayley Grindle's set in particular resembling a prison or internment camp, cages of various sizes spread around the stage, and we see a large glass box at the upper rear of the stage as we walk in, with a tv screen playing footage of animal abuse, and a mounted pig head in the centre. All of this plays brilliantly into the raw, disturbing nature of the story, as well as the deeper thematic material that, for the most part, is largely implied in Orwell's original text.

Tom Simper in Animal Farm (credit: Kirsten McTernan)

Additionally the costumes, hair and makeup, also designed by Grindle, all add considerably to this feeling of confinement, as each animal wears a different type of prison uniform, often with their species stammped on them; these have a particularly dirty, lived-in aesthetic, and the use of tattoos and branding on their skin is also a brilliant touch. All of these elements make for a profoundly gritty depiction of farm life from the perspective of the animals, rather than having the performers dressed as animals in a more literal sense, which is wonderfully clever.

This is a distinctly dark take on Orwell’s material, and it perfectly reflects the overriding themes and moralistic content; the pacing and overall direction is excellent, Leach and Hennessy have set out a clear and concise creative vision, it's raw, it's unhinged in the best way, and it's executed magnificently, not only through the cohesive combination of creative elements in play, but also by means of an enormously gifted cast, who display a great deal of skill in balancing the animalistic qualities of their performances with some genuinely brilliant acting.

The role of Old Major, though one that only appears in the very first scene, was perhaps the most riveting, awe inspiring of the evening, Everal A Walsh displays a masterful command of the stage, as he expertly rallies the troops and calls them to action in the play's opening, leading them in the anthem "Beasts of England", a motif which makes a handful of reprises, as it does in Orwell's original novel. One of the most impressive performances was deaf actress Tianah Hodding, giving Clover the horse real emotional depth, and her interactions with fellow equine Boxer, played with staunch commitment by Gabriel Paul, were especially powerful.

The company of Animal Farm (credit: Kirsten McTernan)

The performance of Joshua-Alexander Williams was major standout, portraying Blue the dog with huge passion, and at times real ferocity, his canine movements and vocalisations were properly frightening. David Nellist brings remarkable wisdom and realism as Benjamin the donkey, whilst Tachia Newall as assumed farm leader Napoleon, the naming of whom by Orwell was always bitingly deliberate, takes control of proceedings terrifically following the departure of Old Major. His ultimate betrayal is very well handled, taking everyone's breath away, regardless of their familiarity with the source material.

In contrast with the animal characters, the humans of the story are presented as figures to be feared and despised, often wearing white lab coats or brandishing weaponry of some sort, and theres an unwavering, stoic silence about them, really painting them as the antagonists brilliantly. Orwell's work is some of the best out there when it comes to metaphor and symbolism, and Animal Farm epitomises this notion, but it's how Hennessy has adapted the material, in combination with Leach, that has truly captured the imagination of what the author was trying to convey, and it's done absolutely brilliantly. This is a chilling, unyieldingly real adaptation of Orwell's story, and its relevance, even today, is testament to him as a world class storyteller and satirist.

★★★★☆

"Animal Farm" plays at Leeds Playhouse until the 29th of March (book here)

{PR/Gifted tickets}