How we're turning a contemporary lens on George Orwell’s political fable as its marks its 80th anniversary to uncover a ‘youthful, charged and energetic’ story for now.
The world was a very different place in 1945. In the year that Animal Farm was published, nations were beginning to regroup as the Second World War ended, Korea split into two sovereign states, 50 countries founded the United Nations, and French women voted for the first time.
Times have undoubtedly changed but, 80 years on, the themes of George Orwell’s iconic fable remain deeply resonant.
This bold new production, written by Tatty Hennessy, doesn’t share the original author’s preoccupation with the Russian Revolution and the rise of Stalinism, but it does delve deep into inequality – something that remains as relevant today as it was in the 1940s.
“When Hayley (Hayley Grindle, Set & Costumer Designer) and I started working on Animal Farm, what particularly struck us was its narrative of deep inequality,” said Director Amy Leach. “It’s about how people are born into circumstances they have no choice over – it could be a body, a place in the world, or a political regime – and how these circumstances have huge impact on whether someone has the opportunity to thrive or not. It asks a big question – is positive change truly possible in the world?
“This is a brutal play, dealing with death and violence. It is difficult and challenging, but it is also incredibly rewarding and revealing about who we are.”
Tatty created her version with the National Youth Theatre, working with incredible young people to investigate how the story fits in and speaks to our contemporary world.
“You can really feel that in the energy of the piece,” said Amy. “It’s very youthful, charged and energetic. It’s like a bullet out of a gun in terms of pacing and really feels like it’s connecting with now.”
Staging classic texts in exciting new ways that speak to diverse communities is important to the Leeds Playhouse, as we strive to make work that is bold, visceral, exciting and challenging.
“We’ve worked hard to make this production as gripping as possible as we have such a multi-generational audience, including a lot of school groups,” said Amy “It’s something that generations can come together to watch in the knowledge that everyone will be engaged.”
References for the world Amy, Hayley and their talented creative team have built include modern abattoirs and factory farming. They’ve also thought a lot about industry around the UK; about mining, steel and textile communities who once had a real sense of pride and empowerment but have had everything ripped away from them.
“The process of building our world has been eye-opening in terms of how relevant Orwell’s original story still is,” said Amy. “As well as factory farming and industry, our gaze has landed on gentrification around areas of deprivation and poverty; the modern justice system and life in prisons; images of protest; and the films of Clio Bernard and Andrea Arnold.”
It’s perhaps no surprise then that the resulting world is not a classic pastoral idyll. Instead, it leans more into factory farming and big retail warehouses where faceless industry treats people as a commodity – a number on a spreadsheet – rather than as human beings.
The animals in this bold new production look like us. They are grafters, brought to breaking point by hard physical labour and a living environment with no warmth, comfort or joy. Costume, hair design and physicality play an important role in relaying character and in distinguishing one animal from another.
“We’ve worked with each of the cast members collaboratively to ensure they’re happy with the choices being made for their character,” said Amy. “They are an exceptional group of people and watching them develop their characters, giving them such a physical presence and spiritual depth, has been an absolute privilege.”
Access and inclusion have played increasingly significant roles in Amy’s work in the last seven years, during which time she’s built a strong reputation as a director who considers access as an essential creative layer rather than an after-thought.
In Animal Farm, she is again collaborating with deaf and disabled creatives on and off stage and incorporating layers of access. The actor who plays Old Major has a very significant but short amount of stage time and, once he leaves, he live audio describes the rest of show in character. This means that, from press night, the entire run of the show is accessible to blind and visually impaired audiences, who can enjoy an engaging creative experience via their headsets.
“When we do our BSL performances, a brilliant actor interpreter will be fully rehearsed in costume into the world of the show as an animal character,” said Amy. “As with the rest of the creative choices we’ve made, this is part of our aim to make an Animal Farm for all of us, and for the world we live in now.”
