Animal Farm is a text that many have read (often at school). It’s a story that is, in its broad outlines, familiar to us, as are some its famous lines (‘All animals are equal, but some animals are more equal than others’).
This familiarity can mean we overlook it. Some may consider 1984 to be Orwell’s most enduring work, and Animal Farm a lighter, less significant work. This dynamic one-man adaptation, by Guy Masterson, is performed by physical actor Sam Blythe underscored the quality of Orwell’s ‘fable’ and the relevance of its themes. As Blythe said at the very end, it was ‘deeply frightening’ that Orwell’s words were ‘more relevant than when he wrote them’.
One of the finest works of political satire
Very sensibly, the script largely kept to Orwell’s beautifully crafted words, with minor alterations – including some references to more recent politics, especially to Trumpian politics. This was wise, given that this is Orwell’s most crafted piece of fiction. His famous work is widely considered one of the finest works of political satire, one in which deep themes are articulated in clear and powerful prose.
Anna Funder has, in her recent book Wifedom, suggested that the particularly polished prose of Animal Farm can be traced to the influence of Orwell’s first wife Eileen. She was an English Language and Literature graduate from Oxford, skilled in editing and composing text. So, keeping largely to the original text was a wise move.
Giving the words the weight they deserved
The performance began urgently, with Old Major’s (the Lenin/ Marx figure) speech delivered in near darkness. This outlined the utopian vision and the laws of Animalism that would, as the story developed, be eroded and betrayed. With a lot to cover, the first twenty minutes or so, was a fraction rushed, not allowing Orwell’s to ‘breathe’ sufficiently. Happily, the pace became more varied as the performance progressed, giving the words the space and weight they deserved.
With such a well-known book, it’s always important to actually hear the actual words and give the audience time to absorb them and think of their wider meaning and relevance. The quality of the original text shines through, its deeper meanings, beyond a allegory of the Russian Revolution and the development of Stalinist Russia. That Russia is again an authoritarian state, controlled by a deeply manipulative leadership again demonstrates the pertinence of Orwell’s text, first published in 1945.
Violent undertones
The audience entered the theatre to the sounds of Pink Floyd’s Pigs, the blend of melodic discordant and sounds preparing the audience for what lies ahead; of utopian ideals perverted. On the stage sit a hat and a whip, another foretaste of how the story will develop. These violent undertones become a significant part of the tale, especially when the pigs start to utilize packs of vicious dogs to do their dirty work, to enforce new rules as they emerge.
A key part of Orwell’s argument is one against simplistic notions in politics. For example the argument that all that the animals needed to achieve a good society is to get rid of human control. Once that is achieved, a utopian future is at hand. It overlooks the drawn out and determined efforts needed to create free and democratic societies. Some may think of such notions in our contemporary politics, such as that removing the influence of the EU on Britain would set it on the path to a glorious revival as Global Britain. Or perhaps that Scotland becoming an independent country will, by itself, create a much better, more equal society. It’s another example of the relevance of Orwell’s take, as expressed through well-crafted fiction.
As one of Orwell’s biographers, Bernard Crick argued, most polemical writings on politics date very quickly. Fiction can, in skilled hands, produce something with lasting significance. Getting serious and nuanced political ideas into a work of fiction is not easy, but if achieved can create something with lasting relevance. Many, of varied political persuasions, see Orwell’s 1984 as starkly relevant, its deep pessimism connecting to our current age. This performance illustrated that Animal Farm also has a darkness at its core, though dressed in the gentle mode of ‘A Fairy Story’.
Disturbing contortions
As Sam Blythe has to play all the parts, he has to use a variety of accents and voices to differentiate the characters. And to act out the more dramatic scenes, he has to contort its body to reproduce the movements of the different animals. This generally works well and adds to the impact of the performance. For instance, supported by disturbing sound effects, his embodiment of the pack of wild dogs is very well performed. Particularly effective are some of the final scenes, making very effective use of silhouettes and lighting. As Napoleon (the Stalin figure) becomes ever more authoritarian, red lighting is used to warn us of the danger posed to any animal who questions his authority all makes any comments about the continual revisions to the laws of animalism.
Chief propagandist Squealer is played menacingly, his bureaucratic language (‘that will be attended to’) delivered in a way that it’s dripping with threat. The relevance of such propaganda was made clear with regular references to ‘fake news’, and also to ‘alternative facts’. The ultimate threat was rhetorically asking some of the sceptical animals whether they wanted to return to the pre-revolutionary era (‘do you want Jones to return?’). As we know, one of Orwell’s central themes was the misuse of language in politics.
Enthralled throughout
The audience was kept enthralled throughout, impressive given most will be familiar with the basic ark of the narrative. Also impressive given that it was a performance of almost 80 minutes. Many performances in the fringe are about 50 minutes, with some performers struggling to retain an audience throughout that. Blythe certainly did not struggle to do this.
Given the length, and the sheer volume of lines to be learned, it was to be expected that there would be a few flubs. About two-thirds of the way through, Blythe did require some prompting (‘I knew there might be a few’), but these did not badly interrupt the flow. As the month progresses, these will surely become far less common. What such a performance takes out of the actor was evident when he stopped for a lengthy and much deserved drink of water halfway through. It demonstrated how much a performer must put into such a show.
Particularly well done were some of the emotional scenes involving the ‘Stakanovite’ cart-horse Boxer (‘I will work harder’). Especially when it’s revealed that instead of being sent away for hospital treatment he is being sent to the knacker. The words ‘boxer was never seen again’ were delivered in a particularly affecting way. This leads to Clover’s emotional, elegiac final performance of the soon to be banned anthem Beasts of England.
The extended applause from the audience at the end was well-deserved. This is a performance that illustrates, in many ways, Animal Farm is Orwell’s enduring masterpiece. It’s an impressive and arresting performance which breathes new life into a familiar text.
Animal Farm, Studio One at Assembly, until 24th August
https://www.edfringe.com/tickets/whats-on/animal-farm
