Set in a brutal, dystopian future, the world of 1984 is grey in every sense. Big Brother rules. Society is repressed. Sex is illegal. The world is permanently at war. And thoughtcrime — the simple act of thinking against the regime — is punishable.

This adaptation by Nelle Lee and Nick Skubij of Shake and Stir Co (the award-winning team behind Frankenstein) stays largely faithful to George Orwell’s novel, with subtle updates, like references to synthetic meat, that land it firmly in the now.

Michael Whalley plays Winston Smith, an editor in the Ministry of Truth, whose job is to rewrite reality and ensure no contradictions against the ruling party exist. After all, “who controls the past, controls the future.”

A bank of plasma screens dominates the stage, a visual metaphor of the omnipotent and constant presence of Big Brother. There are cameras everywhere — even in the toilet. When Winston steps offstage, he reappears on screen in the black and white. Craig Wilkinson’s screen projections are cleverly integrated into the staging. When Winston steps offstage, he reappears on screen in stark black and white. The footage includes extreme close-ups of Big Brother (resembling Lenin — a deliberate nod to Orwell’s intent), Winston’s haggard face as he shares his inner thoughts, the regime’s mantras — freedom is slavery, ignorance is strength — and propaganda-style clips showing supposed traitors and updates on the war, celebrating Big Brother’s latest victories.

Winston, however, questions Big Brother’s dominance and control of the truth. He values beauty for its own sake and doesn’t want to rid the world of words. In his prison-cell-like room, he squeezes into a narrow doorframe, dodging surveillance, desperate to avoid the camera, before leaping into a tiny cupboard so he can write in privacy.

Hate turns to love between Winston and Julia. In a world where hatred is so prevalent, Winston doesn’t hold back when Julia asks what he thought about her – telling her, he wanted to rape and murder her. Chloe Bayliss plays Julia with a cheeky defiance. Other cast members include: David Whitney, Tony Cogin, Abhilash Kaimal and Steven Rooke.

Designer Josh McIntosh’s grey set of high jagged concrete walls, rusted objects and materials in a state of decay reflect the broken world. Colour only enters via screen projections of Winston’s memories, or in the fleeting sanctuary of the secret room he shares with Julia.

Jason Glenwright’s lighting casts spotlights over the crowd, blurring the line between audience and surveillance, making it feel like the audience is part of this nightmare existence. Sound design by Guy Webster, keeps audiences rattled, with breaking glass, blaring sirens and unsettling screams.

Directed by Michael Futcher, there are many chilling moments in this show, but it’s the actions of the children that strike the most fear in me. The gleeful, proud joy in their father’s voice as he recounts how they’ve informed on supposed suspicious citizens. Brainwashing begins early.

The novel was a page-turner, and this show keeps you on the edge of your seat. Visceral, arresting, it’s compelling, except for one scene (no spoilers) that had me peeking through my fingers. It’s a potent theatrical experience.

Although 1984 was written after WWII in 1949, the themes and subject matter remain eerily relevant today. Orwell took inspiration from totalitarian regimes like Stalinist Russia and Nazi Germany, drawing on their use of propaganda, censorship, and mass surveillance. In today’s world, we see evidence of this in digital surveillance, disinformation campaigns, and the manipulation of truth. 1984 stands as a warning. The dystopian world of the future may seem far-fetched, but if we don’t stand up for our rights — to thought, language and truth — it edges closer to reality.

4 stars.

Run time: 1 hour 40 minutes (no interval)

1984 is playing at Riverside Theatre Parramatta until 26 July 2025. 

Produced by Shake & Stir Theatre Co 

Recommended for audiences 14+

For tickets visit Riverside Theatre