ANDY HEDGECOCK relishes two exhibitions that blur the boundaries between art and community engagement
Error message
An error occurred while searching, try again later.Come down the farm
PAUL DONOVAN applauds an adaptation that draws out the contemporary relevance of George Orwell’s satire
The Star's critic MARIA DUARTE reviews I Am Martin Parr, September Says, The Monkey, and The Gorge
RITA DI SANTO applauds a touching and witty opener that touches a hot topic in Germany: the future of the immigrant population
SIMON PARSONS is discomfited by an unflichingly negative portrait of motherhood and its trials
PAUL FOLEY recommends an extraordinary double bill that packs a punch and leaves you reeling
MARY CONWAY is disappointed by a play about AI that results in a deadening disconnect for its audience
SIMON PARSONS applauds an insightful state-of-the-nation play that explores the growing class divide in South Africa
Animal Farm
Theatre Royal, Stratford East
THIS excellent adaptation of George Orwell’s iconic book gives a real contemporary feel to proceedings.
The original book, published in 1945, saw Orwell drawing what he saw as lessons from the early years of the Russian revolution. This Tatty Hennessy adaptation centres more on power dynamics, manipulation of group situations and inequality.
In places there is more than a hint of the recent history of the Labour Party, with a popular leader ousted and a manipulative shadowy figure putting his man into the top job. The role of manipulative pig, Squealer (Tom Simper), has certainly been made far more prominent than in the original book. A cross between Peter Mandelson and Uriah Heep.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes