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Written in 1949, Orwell’s story was originally catalogued under science fiction, as it explored a dystopian world of tyrannical control of mind and action. Over the years the tale has slipped from the fantastical to the downright prophetic. Many concepts throughout the book have entered our everyday consciousness from Big Brother, newspeak, to room 101 and 2 +2 = 5. The novel even made an adjective out of the author’s surname: if that doesn’t make Orwell one of the most influential thinkers of our time I’m hard pushed for something better!

The cast of 1984 by Manuel Harlan

With Headlong’s theatre productions cleaning up at the Olivier Awards this month, they are the theatre-makers on everyone’s lips. Their new adaptation of 1984 has been created by Robert Icke and Duncan Macmillan and co-produced with Nottingham playhouse and the Almeida Theatre.

The Headlong team have incorporated the very issue of how the novel has infiltrated our modern mindset in this new version. They skillfully hold a mirror up to our modern world and expose the vitalness of it to the present days politics – Edward Snowden, Bradley Manning, Wikileaks…. you get the picture? The play explores a world as it collapses under the pressure of big brother’ gaze, skillfully brought to life by the design of Chloe Lamford. Don’t miss it. (Words: Laura Thornley)

Running from 28th April to 19th July. For more info, visit: www.almeida.co.uk/event/1984we

1984 – Trailer from LivEveryPlay on Vimeo.

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Shelley’s life is a dream to tell, filled with drama and intrigue. Born into an intellectual household, her mother was philosopher and feminist Mary Wollstonecroft and her father was political philosopher William Godwin. Being raised in a climate of creativity and liberal values prepared Mary for a life of scandal, even by her parent’s standards. She famously fell for a married man at the age of 17, fellow author and poet Percy Bysshe Shelley. They travelled extensively throughout Europe and spent time in the company of similarly passionate writers and intellectuals. The story of Frankenstein is believed to have been the result of a ghost storytelling task set by Lord Byron during a rain-drenched summer break on Lake Geneva and was a recipe that bore both horror tales Frankenstein and The Vampyre, authored by fellow guest physician John William Polidori. Shelley’s life was also filled with sadness, having lost 3 out of 4 children and herself dying relatively early at 53.

This play sheds light on an author, famed now as a feminist icon, and creator of one of the most foreboding tales in the gothic genre – a real treat for literary fans. (Words: Laura Thornley)

On from 29th March. For more info, visit: www.pleasance.co.uk/event/lamda-presents-mary-shelley-helen-edmundson

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Often described as a semi-autobiographical tale (the similarities between Lee’s life are, at times, surprising), the book follows Scout, the daughter of Atticus Finch, a lawyer who is appointed to defend a black man, accused of raping a white women. Set in the years following the 1930s Great Depression, in the tired town of Maycomb, the trial highlights the many racial injustices that enveloped society then. Seen always through the innocence of 6-year-old Scout’s eyes, the story also examines the transition from childhood to adulthood and the unlikely rapport between her and her reclusive neighbour, Boo Radley.

To Kill a Mockingbird won the Pulitzer Prize on publication and was, and is, a huge best seller. Its impact even led to Harper Lee being awarded the Presidential Medal of Freedom in 2009: the highest award available to citizens in the USA. But, despite this, the novel has received little academic analysis and Harper Lee, famously, refuses to speak about its themes. In Sheader’s production, Atticus Finch will be played by Robert Sean Leonard (yes, from Dead Poets Society Fame!) alongside tgree different Scouts and Daniel Tuite as Boo Radley. So the roaring success of Sheader’s past productions will make this new addition to the open-air theatre billing an unmissable event this month. (Words: Laura Thornley)

On until June 15th. For more info, visit: www.openairtheatre.com/production/to-kill-a-mockingbird

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Playing Cards is a 12 hour marathon production, but luckily it’s broken down into each card suit, making it into easier to swallow 3 hour pieces. Spades, the first instalment, is designed for a very particular kind of theatre, the 360-degree stage. And where else could it tour to other than Camden’s amazing space?

Running for less than a month, the play is already gaining an incredible amount of attention. It began its international tour in Madrid May 2012 and has gained momentum since. Spades begins its story in Las Vegas at the beginning of the Iraq – and weaves a web of sex, corruption and violence. Lepage is bringing his usual blend of “theatre wizardry” – but with no Paul Daniels in sight. Peter Gabriel once described Lepage as a theatre director for people who don’t like theatre – someone who converts the none-believers? We’re already sold on this one Peter. (words: Laura Thornley)

Playing Cards 1: Spades runs until March 2nd. For more info visit: www.roundhouse.org.uk/cards

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The team are working from the idea that each picture is worth a 1000 words, so the premise is something like this: for each image, Oliver has produced a song and story – adding his own depth and background to Murphy’s work. Each story is performed by a cast of musical stars including Alex Brightman (Wicked), Ben Crawford (Shrek), Jay Armstrong Johnson (Hair), with music provided by six live players of string and percussion. This relatively new concept that straddles the art exhibition (the photos are projected during each song) and musical performance is a welcome down playing of the usual high-octane musical mainstream; for all of us who have a fear of jazz hands that is.

During its run at the Galapagos Theatre in New York in March 2012, 35 mm was a complete sell-out, even after extended dates. Which is not bad as recommendations go. Its London stint sees it housed a the Pleasance Theatre in Islington. There is a CD of the songs to buy that is accompanied by a photo booklet: for your own private consideration. The lyrics tug on a variety of heartstrings, as all good musicals must, with some surprisingly hilarious additions. So this is not your standard musical, which sounds good to us! (Words: Laura Thornley)

35mm: A Musical Exhibition runs from January 29th – February 10th. For more info visit: www.pleasance.co.uk/islington/events/35mm-a-musical-exhibition

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Described as a 360-theatre experience, the performance takes place at every angle possible around the audience’s head. Men run full pelt through obstacles, performers act out choreographed sequences in water pools suspended from the ceiling, and acrobats spin and fall amongst suspended fabric. all against a thumping bass soundtrack. No surprises that the name of the show literally means ‘brute force’ and tickets are for standing room only.

The visual effects are what have earned the show a name and are the trademark of Diqui James, the creative director and driving force of Fuerzabruta. Founded in 2002, James had already co-founded De La Guarda, which operated from 1993 to 2006, with many of the members following him to Fuerzabruta. Prime importance to the band of performers is to be experimental. And, considering many who saw them first time round haven’t been able to witness anything like it since, it’s safe to say they are still the ones pushing the boundaries of high adrenalin theatre.

The show only lasts 60 minutes, but that’s presumably because your heart couldn’t take much more. Having been described as theatre for clubgoers, this theatre experience straggles a pumping techno night and an action film sequence which sounds like a pretty good combination to us. The show runs until late January,  a perfect lift for the New Year. (Words: Laura Thornley)

For more  info, visit: www.roundhouse.org.uk/fuerzabruta

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Victoria, the sole performer and writer, is bringing something new and fresh to the theatre circuit. Unlike many other shows out there, Northern Soul’s main protagonist gets her experience on the job, cosying up to communities and learning their loves, then translating this into an entertaining evening: just her and the audience. In theory, that falls in the brackets of ‘method acting’ but there is something distinctly Jeremy Deller about her work. And, perhaps unsurprisingly, she comes from a visual arts background herself. Having studied Fine Art at Chelsea, Victoria has channelled her performance work and interest in anthropology into her distinctive and successful style.

Themes for this performance include getting involved with the Northern Soul crowd – a 1970s looking bunch that tend to frequent decrepit looking seaside dancehalls. Melody dons the gear and learns, with surprising skill, many of the must-have dance moves. She also finds interest in our feathered friends, sharing her experiences in the dying pastime of pigeon-fancying. Dull as some may think a pigeon sounds, Melody finds poetry and comedy in all aspects of her work – and she has the critical acclaim to prove it.

The performance on the stage may look like a one-(wo)man show, but direction falls into the hands of Ursula Martinez, one of the original La Clique performers. If you know La Clique, you will know that anything they touch generally turns into performance gold… so expectations run high for this too. And, judging by her reviews from around the country, Northern Soul will not disappoint. (Words: Laura Thornley)

For more info, visit: www.bac.org.uk/whats-on/northern-soul

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