Review: 1984 Takes Playgoers Back To The Future

Ronald Reagan was re-elected president, the first human baby conceived by artificial insemination was born and the Tigers won the World Series, but for much of the world, the public perception of the year 1984 was forever shaped in 1949, with the publishing of George Orwell's dystopian novel, titled "Nineteen Eighty-Four."

Even for those who never read the book, a mention of the year 1984 has become synonymous with secretive, controlling governments and the ominous warning "Big Brother is watching you."

Sales of the classic novel may have suddenly soared after Donald Trump was elected president, but the new Broadway version of 1984, adapted and directed by Robert Icke and Duncan Macmillan, originated in London in 2013.

Part of the genius of Orwell's work is that nearly anyone of any society following the 20th Century's midway point can find enough distrust in their leaders to see the author's story of all citizens being under constant surveillance as a warning sign of things to come. While Broadway audiences consist primarily of left-leaners who will no doubt equate the depiction of government-defined reality with alternative facts, it's not inconceivable that those of the right will see Orwell's Thought Police as enforcers of political correctness.

As with the novel, the play centers on Winston Smith (played with conviction by Tom Sturridge), who is literally rewriting history in his position with the Ministry of Truth. But Winston is not a fan of institutionalized beliefs, such as "War Is Peace," "Freedom Is Slavery" and "Ignorance Is Strength," and, as a member of the resistance, keeps a secret diary.

After Winston falls for the like-minded Julia (Olivia Wilde, in a passionately political mode), the couple thinks they've found a private place to consummate their commitment to truth and freedom, but this is a world where you never know who is and who isn't your friend.

Winston is delivered to room 101 of the Ministry of Love, where he is to be re-educated by a fellow named O'Brien (wonderfully understated Reed Birney), whose warm friendly voice assures the free-thinker that the electric shocks he's administering and the torture involving (unseen) rats he's prepared are all for his own good.

The day before opening night, it was announced that, due to the disturbing nature of some scenes, nobody under the age of 13 would be admitted to 1984. Most likely it was this scene, and a video of a man being shot, that led to that decision. Sturridge and Birney play it well, but certainly there's been greater nightmare-inducing stuff on Broadway.

To bookend Orwell's story, Icke and Macmillan have added characters from 2050 who, in a book club discussion, question the validity and reliability of Winston's diary. It feels like padding in the 101 minute long production.

While Orwell wrote a masterpiece, this sluggish stage adaptation feels more like a vehicle for designers Chloe Lamford (set and costumes), Natasha Chivers (lights), Tom Gibbons (sound) and Tim Reid (videos) to go wild, providing a maddening barrage of visuals and sounds that, while impressively executed, do little to enhance the story.

Fast moving videos, political slogans set aglow, ear-attacking noises and sudden blackouts into total darkness followed by fierce lights glaring into audience members' faces make totalitarianism look and sound more like Saturday night in Times Square.