If we all lived in Orwell’s repressive totalitarian society within the novel 1984 we would not need words like “awesome” or “sucky” or even “beautiful” for that matter. Good will do along with its exact opposite- ungood. Unnecessary words spur unnecessary thoughts. The abolition of these frivolous words will no doubt streamline society into a well oiled emotionless and obedient machine. The motto of the all powerful Party? “War is Peace, Freedom is Slavery. Ignorance is Strength”. Keeping citizens in a constant state of confusing, busy, fearful alarm will decrease the chances of dissent and increase the power of those in charge. A dystopian paradise brought to life before our eyes by the edgy Catalyst Theater Company (of Swimming in the Shallows fame) and directed by Jim Petosa. This performance also marked the move from the small Capitol Hill Arts stage to the Atlas Performing Arts Center, a modern, more spacious venue on H St, NE sure to expand the company’s audience and scope.
Most of us read 1984 in school, probably as part of a summer reading list or English class. Or maybe you’re like me and thought that we had read 1984 in High School but then discovered it was actually Animal Farm. Regardless, we all know what Big Brother is and we have Orwell’s influential novel to thank. The novel, and subsequent play, deals with pressing issues not just at the time of its release (Orwell wrote it during the rise of Communism) but of our present day existence: nationalism, freedom, privacy issues, surveillance, racism, censorship, propaganda, et al.
Here is a quick synopsis: Winston (Scott Fortier) is a typical working member of the Party. His days revolve around rewriting news to conform with the Party ideology/stance at any given time, partaking in Hate rallies against whoever the Party says is the enemy at that moment, drinking victory gin and being monitored at all times. Pretty standard for citizens of Oceania. Everyone is watched by Big Brother, the all mighty leader of the Party, who has apparently increased the quality of life for citizens of Oceania by leaps and bounds after what is called the “revolution”. Although Winston has never gone against the Party he begins to feel that something is wrong. He keeps a secret journal which is a big NO NO in Oceania since it’s considered ThoughtCrime. That’s right; you are a criminal even if you just think bad thoughts. Step one to Brainwashing: it is not enough to just obey, you must believe what you are doing is right. One day, Julia (Laura C. Harris), another worker within the Ministry of Truth, hands him a note. He reads it, freaks out and eats the paper. Undoubtedly, she has professed her love. They arrange to meet in a park outside of the normal surveillance area. They expose their doubts about the Party and make out. Their new dangerous love emotions further fuel their unease about the Party. After which they decide to meet in a small apartment above a shop in the “Proletariat” part of town to continue their love making and Party hating. Needless to say they are caught by someone they considered a trusted friend and cohort in the fight against the Party. It was an upper level party member named O’Brien ( Ian LeValley). They are captured and taken to the Ministry of Love for torture, questioning, re education and of course some light brainwashing. In the end, Big Brother prevails. They betray one another and give their complete allegiance to Big Brother and the Party.
A heavy play to watch, I can only imagine the difficulty the cast endured to perfect their seamless performance. Scott Fortier as Winston is almost frighteningly real as he endures electric shocks, physical beatings and severe mental anguish from Ian Levalley (O’Brien). Fortier screams and writhes in mental and physical torment during his stint in the Ministry of Love. You not only feel sorry for him, you want to rush up and save. But you can’t. You are paralysed by disbelief and fear. His naiveté at the state of Oceania and his eye opening transformation to be part of the opposing party, “The Brotherhood”, leaves us with a sense of pity at a person reduced to desperation. LeValleys maniacal laugh and sinister gleam in his eye, hint at his evil plans. During the interrogation/re education scene, LeValley goes from aggressive monster to motherly teacher as his beatings are broken up by soft caresses and cradling Fortier in his arms. The line between love and hate is painfully thin. Big Brother provides for you, as long as you do what he says. Both actors gave physically exhausting performances that left my head in a fury of tension, sorrow and agitation. Laura C. Harris ,as the beautiful Julia, perfects the appearance of a cold, robotic worker harbouring a passionate lover inside. Torn between what she wants (Freedom) and what she knows will happen (Enslavement), she willingly betrays Winston. Their meeting after their re education is awkward. They express no hard feelings and act as if nothing has happened.
The Spartan setting, with its revolving panel walls, limited furniture and bright lights give an aura of a sanatorium, a hospital or a jail. Matching beige and orange ‘uniforms’ only cement the idea that citizens are just a flock of sheep. (BTW, Julia had a really cute dress on. Very girl scouty but with this great orange belt to top it off.) Blown up text is illuminated across the stage as the thunderous, permeating voice of the Party telescreen ( James Konicek) reads off commands, instructs citizens where to go, announces news and monitors all action, in what can only be described as a police state. Iphone like gadgets are used to produce a futuristic effect of constant connection. But this is just complimentary to the actual storyline and acting which are sure to arouse a few questions and thoughts.
You know what; this play brought so many ideas to mind…its best to check it out for yourself.
From now till October 5th
http://www.catalysttheater.com/
All tickets $10
