1984, withintheatre Company Review

Written by Paris for Theatre and Tonic

Disclaimer: Gifted tickets in exchange for an honest review

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I attended 1984 last night at the Omnibus Theatre in Clapham, a production by WITHINTHEATRE, directed by Sofia Barysevich. While the show paid faithful tribute to George Orwell’s classic novel, I couldn’t help but question whether its themes, presented in such a traditional way, still resonate as powerfully today. Do we really need another faithful adaptation of 1984? The answer is both yes and no—and depends entirely on the perspective through which the story is explored.

This powerful adaptation of Orwell's 1984 is set in modern-day Belarus (where the novel remains banned to this day) and offers a chilling exploration of the tactics used by totalitarian regimes to manipulate truth, suppress dissent, and rewrite history. The cast delivers exceptional performances, with Faiaz Valuillin portraying Winston Smith in a harrowing interrogation that evokes both torment and empathy. His suffering is further underscored by fellow prisoners, played by Anastasia Aush, Kolya Mulakov, and Igor Laskiy, who re-enact Smith’s 'thought crimes' in a brutal sequence of events. Especially Aush’s performance is truly memorable. She commands the stage with a captivating presence, dominating every scene she inhabits. Ivan Ivashkin, who plays O'Brien, brings a chilling coldness to his character, smoothly integrating awkward and sometimes bleakly comedic interactions with the audience members, all while maintaining the oppressive atmosphere. O'Brien exuded a composed menace that was both intimidating and captivating. The ensemble’s synergy added depth and urgency to the story, vividly illustrating the terrifying power of totalitarian regimes.

The minimalist scenography by Sonya Bleiph effectively evoked the claustrophobic, colourless world of a repressive regime. This was bolstered by an exceptional lighting design by Georgijs Gaisins and, more importantly, the soundscape by Ales Tsurko: the music and sound design subtly enriched the atmosphere without overshadowing the performances, proving integral to the production’s success. Multimedia elements, such as projections and live-feed cameras, added a contemporary layer to the narrative but ultimately felt underused, lacking the innovation needed to fully elevate the experience.

One of the production’s more ambitious elements—the use of physical theatre—fell short of expectations. Though bold in concept and visually striking in promotional material, it failed to add meaningful emotional or thematic depth to the story.

Despite strong performances and a script that respects Orwell’s original work, this adaptation struggles to offer a fresh take on its themes. Orwell imagined a dystopia where freedom is stolen through fear, oppression, and relentless control. Today, however, our reality seems to align more closely with Aldous Huxley’s Brave New World: not a society of enforced submission, but one dulled by passive distraction, where vital truths are buried beneath an ocean of trivialities, and the line between fact and fiction becomes hopelessly blurred.

This dichotomy left me pondering the necessity of yet another faithful adaptation of 1984. However, WITHINTHEATRE brings a deeply personal and poignant perspective rooted in their experiences of Belarusian and Russian reality and oppression. For audiences drawn to Orwellian themes and aesthetics, this production offers a compelling interpretation. But for those seeking an urgent, contemporary critique of today’s psychosociopolitical challenges, the play ultimately falls short of presenting fresh insights or warnings for the future.

At Omnibus Theatre until 02 February 2025

★ ★ ★