Review: ANIMAL FARM, Rose Theatre

George Orwell’s Animal Farm, a stark examination of the devastation caused by corruption, may be more timely than ever in our current political landscape. We witness hypocritical leaders, mistreated minorities, and the power of media and surveillance. Octagon Theatre Bolton, Derby Theatre, and Hull Truck Theatre have teamed up to take on Orwell’s fascinating and nuanced material. Unfortunately, this interpretation misses the mark, ultimately undermining the very fascination and nuance that make the text so compelling.

Under the direction of Iqbal Khan, the production stops at the gorgeous Rose Theatre before heading to various other acclaimed regional venues. The vision is clear, and so is the potential—which is why I found this production frustrating. With more sensitivity and careful thought, it could have made its mark as a truly bold and invigorating interpretation.

The animals of Manor Farm are under threat, and so the revolution begins. After overthrowing their master, a utopian Animal Farm is established, where all animals are equal. But, as old tales go, the hunger for power grows too strong for some (here, the pigs), and soon, a dictatorship takes hold. Slowly, Animal Farm descends into a state of terror, fuelled by gaslighting leaders and a misinformed narrative, as we watch a community shatter.

This production keeps its setting fairly abstract—there’s no direct comparison to a specific real-world system, which is fine. Perhaps it’s a commentary on how rampant such states are today. But the complete lack of intensity throughout the show means no visceral message finds its way beyond the stage.

Credit where it’s due—this is a technically impressive production. Ciaran Bagnall’s bleak set is intriguing and disconcerting, as are Su Newell’s costumes. Gerry Marsden’s sound design is clever at times, though it could be turned up, as it too often fades into the background, further contributing to the show’s lack of intensity. Dylan Towley’s compositions are another highlight, lending a techno-infused dystopian edge that could be a fascinating element—if only it were fully committed to and developed further.

However, at the end of the day, the success of the show hinges on its portrayal of the animals—and unfortunately, the ensemble falls short. This is likely not due to a lack of talent but rather to a lack of commitment to physicality. The animals speak, make a rather basic gesture, produce a simple sound, and move on. There’s little depth or consistency in their movement, which feels like a missed opportunity.

The piece does have a striking image at the start, when the ensemble bands together to form a beastly Major, but this is the only moment that truly captivated me visually. Far more interesting and nuanced choices could have been made. For example, the horses simply embrace as humans would—but the actors are dressed in sensational barbed-wire-esque headpieces. Surely these could have been incorporated into moments like this rather than serving as mere decorative elements?

Classics like Animal Farm are tough to stage, partly because they’re produced so often (Stratford East’s adaptation opens this week too). To make a lasting impact, a production needs to bring something truly exciting and relevant to the table. Unfortunately, this production never fully justifies: why this adaptation, and why now?

Animal Farm is at the Rose Theatre until 8 February

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