Performing Arts students triumph in intense 1984 performance

Monotone, intense, sharp, thought-provoking. 

But enough about the current state of the world, this spiky performance of George Orwell’s ‘1984’ by our Level 4 Performance and Technical Theatre learners was an absolute triumph. 

Following the classic story of Winston Smith as he dares to question authority in a society ruled by Big Brother, it is a story that is as relevant today as it has ever been. The misery, drudgery and overall sense of menace never lets up in this tight 90 minutes. 

Letting the material take centre stage, the simple black costume choices are underlined by stark white lighting throughout, and the focused, immersive stage setup creates a take on ‘in the round’ that creates a claustrophobic corridor effect. This means the action is just centimeters from the audience and at times they are confronted face to face by a fired-up cast. 

IF THERE IS HOPE IT LIES WITH THE PROLES is projected on the walls and similar slogans and messaging are displayed on flickering monitors during the performance, again feeling oppressive and part of the whole white-hot delivery. 

The presence of suitably pensive and mournful music including the likes of Radiohead, Sigur Ros, Max Richter and particularly chilling use of William Basinski’s ‘Disintegration Loops’ means the atmosphere never drops below an anxious level throughout. 

The cast were truly inspirational, taking a heavy and serious script and delivering it with cool, razor-sharp confidence. 

Sophie Cooper, playing lead Winston Smith, delivers an impassioned and paranoid version of a familiar character, particularly giving a convincing sense of true emotion and anguish in the torture scenes during the spine-tingling show’s second half. 

Equally, the sadistic and evil character O’Brien, here gleefully portrayed by Oliver Welch revels in his character’s double crossing and sinister acts, with an often detached and eerie take on this most unpleasant of literature’s villains. An evil grin often punctuates some of the more disturbing lines he delivers. 

The rest of the cast support this sense of dread with ease, some delivering haunting sung parts, impassioned rants against authority and some truly disturbing elements, one screaming actor being physically manhandled offstage felt all too real. 

Not a production to take in to relax to, rather to witness.  

With the book’s ‘newspeak’ and ‘doublethink’ now being part of the modern political playbook, this was a wholly suitable choice for 2026.  

Truly haunting and convincing, you’d be hard pushed not to be affected by this wonderful, yet harrowing performance.  

Find and embrace your passion at Lincoln College. Apply now to study Performing Arts this September.