It’s 1984. England is under the iron grip of a totalitarian fascist regime, Ingsoc – The English Socialists. Free speech is outlawed, free thought punishable by a fate worse than death. And yet, even deep inside the walls of the Ministry of Truth, there are whispers of rebellion. People like Winston and Julia – and maybe even you and me – daring to defy the all-seeing Party.
That’s the atmosphere 1984 at Hackney Town Hall creates from the moment you arrive. You’re addressed as “Comrade” and handed a badge bearing your new Party-assigned number. The main hall looms large, adorned with banners and flooded with the chilling purity of Party-approved music. Cameras are everywhere. The Ministry of Truth has eyes on you, and yet, you can’t help but feel curious about what’s coming next.
While billed as an immersive experience, this isn’t the kind of full-on interactivity you’d expect from productions like Secret Cinema. It’s more of a theatrical performance bookended by immersive elements. That said, how much you get out of the prelude depends on you. If you interact with the actors as if what’s going on is real, you’ll discover little moments of magic.
For me, this came in the form of a conversation with a Party soldier, Stevens, played by Jamal Renaldo, a young man in uniform sporting a medal. Greeting him with “Good evening, Comrade” led to an intense, intimate interaction that was a mini improvised performance just for me and my companion. He leaned in conspiratorially, warning us not to trust the Party’s lies. “They say we’ve always been at war with Eastasia,” he whispered. “But three years ago, we were fighting Eurasia. Be vigilant. Don’t trust them.” Moments later, a severe-looking woman with a clipboard passed by, and he snapped into full Party mode, shouting, “Long live Big Brother!” which we echoed heartily. It was exciting, and a testament to the power of engaging with immersive theatre.
After this brief prelude, the audience was led into Hackney Town Hall’s Council Chambers, where the Party line was firmly driven home. Here, we were introduced to the rules of the evening by an official called O’Brien, and the importance of staying in line. It was an effective scene-setting moment, aligning us with the Party’s authoritarian mindset before the main event began.
We then returned to the main hall, where the “evidence” was to be presented. Rather than video footage, the story of ‘the traitors’ Winston and Julia was performed live, with the action filmed in real-time and projected onto the walls. This framing device was not only clever but added a disconcerting layer of surveillance, making it feel like the Party – and Big Brother – was always watching.
Michael James, understudying Joe Anderson as Winston, gave a raw and emotional portrayal of a man quietly resisting an all-consuming regime. Neetika Knight as Julia was equally exceptional, radiating a fiery defiance that made her ultimate downfall all the more devastating.
Mark Kitto, understudying for Dominic Carter as O’Brien, delivered a chilling performance as the Party’s sinister enforcer. His calm authority and quiet menace were utterly captivating. If this was the work of an understudy, I can only imagine how Carter embodies the role. The supporting cast, particularly those portraying Party officials, added depth and atmosphere, ensuring the audience never felt completely at ease (in a good way, I assure you).
The production design is nothing short of ingenious. Dan Light’s live video projections added an extra layer of surveillance, with every moment of the play being filmed and projected in real time. Without giving too much away, there’s a particular moment where the use of video took my breath away – an effect so clever it felt like the very walls of the Ministry were conspiring against the characters.
Munotida Chinyanga’s sound design was equally immersive, layering Party propaganda with eerie silences and atmospheric cues that brought each setting to life. Ruth Badila’s costumes, Ben Jacobs’ lighting, and the minimalist set design worked together to evoke the stark, oppressive atmosphere of Orwell’s world, creating an environment that felt both alien and disturbingly familiar.
For all its brilliance, 1984 is not an easy watch. Scenes of torture and psychological manipulation are vividly portrayed, making it unsuitable for younger audiences or the faint of heart. But for those who crave theatre that provokes and challenges, this production is a must-see.
As Pure Expression’s final run of 1984 at Hackney Town Hall, this is your last chance to experience this thrilling adaptation in its current home. Whether you’re a fan of Orwell or just love theatre that makes you think and feel, this show is not to be missed. It’s a stark reminder of the power of resistance, the fragility of truth, and the enduring relevance of Orwell’s masterpiece. Come and see if you have what it takes to join the Party, before it ends on December 22nd!
Book your tickets at www.immersive1984.com
Words by Nick Barr
Photography Maggie Jupe
