Sydney Reviews

Photography by Belinda – www.dancephotography.net.au

Time to enter the world of Alex De Large (Martin McCreadie) and his Droogs for lashings of the ole ultra-violence, right right?

This was a world originally created by novelist Anthony Burgess, during only three weeks while he believed he was dying of an in-operable brain tumour in 1960. The inspiration for the novel came from his wife getting beaten by a gang of American ex-servicemen during The Second World War which lead to a miscarriage. He adapted the novel into a stage play to provide a definitive version after seeing too many poor adaptations by amateur theatre companies and to separate the play from Stanley Kubrick’s film version, which lacked Burgess’ original ending.

Like most people, the version of A Clockwork Orange I am most familiar with is the Kubrick film. So it’s strange to see Alex’s gang of Droogs dressed in black t-shirts and trousers with braces instead of wearing all white with their underdaks on the outside of their trousers. Those expecting Alex to belt out a rendition of “Singing In The Rain” while kicking the bejesus out of his victims will also be disappointed.

For those unfamiliar with the story, Alex is a cocky teenager, the leader of a gang of “Droogs”, who indulge in regular rapes and beatings. Alex is caught after raiding a writer and his wife’s home where he assaults them both. Alex is sent to prison, when the wife dies as a result of her injuries. While in prison, he is subjected to a controversial new government experiment where he is programmed to be sick at the mere thought of violence. This is a play about the need to prevent violence verses the right of every human to have free will. War is the most extreme form of violence so it is fitting that this play is performed on and around ANZAC day.

This production is presented by Action to the Word theatre company from the U.K. who opt for a very physical take on the play. You can clearly see the bulging arm muscles and the veins sticking out of Martin McCreadie’s neck as he gives Alex a powerful physical presence. His performance succeeds wonderfully in balancing Alex’s cheekiness and raw strength.

The part of Deltoid, Alex’s truant officer played by Damien Hasson is curious in that he seems to be channelling Aubrey Morris’ performance from Kubrick’s film. Seems that theatre makers as well as viewers cannot help but be influenced by Kubrick’s version of the story.

The show's physically is also its main weakness. A good example is when Alex is made to lick a clown’s boots in front of the minister of the interior and his colleagues. This makes one of the more unsettling moments in Kubrick’s film into a piece of poorly executed slapstick humour.

There are a number of choreographed dance pieces to modern music, during scene changes that add nothing to the atmosphere or narrative. Particularly disappointing is the choice of the up tempo cover of Pink Floyd’s Comfortably Numb which fails to capture the ironic tranquillity of the original.

Another problem I have is the ending that Burgess provides. He seems to be saying teenagers grow out of their violent ways. If this is so, it shouldn’t matter how violent teenagers are dealt with and so he undermines the main dilemma of the play.

This is mixed bag of a production. It is energetic and acrobatic so boredom is definitely not an issue. The disappointment comes because style is too often favoured over substance during the music and movement pieces.


Les Currie and GHP present Action To The Word's
A Clockwork Orange
by Anthony Burgess

Director Alexandra Spencer-Jones

Venue: York Theatre Seymour Centre
Dates: April 23 – May 5, 2013
Tickets: $69 - $99
Bookings: (02) 9351 7940 | Ticketmaster 136 100