Robert Icke and Duncan Macmillan's critically acclaimed production 1984 will return to the Playhouse Theatre for a second West End run.
The show previews from June 12 and runs until September 5 before embarking on an international tour.
'It is doubleplusgood. It's not easy to make something vividly dramatic from a novel of ideas. This pulls it off in style.'
★ ★ ★ ★★
'Robert Icke and Duncan Macmillan have pulled off something tremendous'
★ ★ ★ ★★
'Headlong’s brilliant stage version ... Rather than just tell the story, this show, written and directed by Robert Icke and Duncan Macmillan, creates a dynamic response that strips away complacency and plays on those creeping anxieties about trust, manipulation and freedom.'
★ ★ ★ ★★
'This extraordinary adaptation by Robert Icke and Duncan Macmillan for Headlong makes a virtue of the book’s internal nature... It is a troublingly, often horrifyingly sensual experience, a tech-enhanced, heavily stylised race through a mind collapsing under terrible pressure.'
★ ★ ★ ★★
'Brilliantly imaginative adaptation of George Orwell's great dystopian novel'
★ ★ ★ ★★
WHAT'S ON STAGE
Emma was having the time of her life. Now she’s in rehab.
Her first step is to admit that she has a problem. But the problem isn’t with Emma, it’s with everything else. She needs to tell the truth. But she’s smart enough to know that there’s no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?
People, Places and Things is the latest collaboration between Headlong and the National Theatre, following the acclaimed Earthquakes in London and The Effect.
We're thrilled to announce that Ellen McDougall will direct Tennessee Williams's The Glass Menagerie in a startling new adaptation for Headlong. The production will be on tour throughout the autumn.
A co-production with the Liverpool Everyman and Playhouse and West Yorkshire Playhouse.
How do you write a play about the ethics of online existence? How do you stage a virtual world?
Playwright Jennifer Haley and director Jeremy Herrin discuss The Nether and the process behind creating Headlong and the Royal Court’s production of the show, in a discussion chaired by Headlong's Associate Artist, Sarah Grochala.
Since its publication in 1949, George Orwell’s Nineteen Eighty-Four has become one of the most popular and iconic novels of all time. It was named Britain’s eighth favourite novel in the 2003 BBC Big Read survey. It appears on countless lists of books that everyone must read, is one of the top ten most searched books on the internet and a staple of school syllabuses and reading lists across the world. In his review of 1984 for the New York Review of Books, Timothy Garton Ash calls it ‘indispensable for understanding modern history’. But how does one set about adapting a book with such a weight of cultural history and influence behind it?
Euripides’ Medea was first performed in at the City Dionysia Festival in Athens in 431BC, nearly 2,500 years ago. What would it have been like to have attended the original production?
Is Big Brother watching you?
As you use the internet, your activity is tracked and monitored. This data is collected by organisations whose interests range from marketing to national security and is used to build up a profile of who you are based on your online activity. This is your “digital double”.
Click here to discover how Big Brother sees you.*
*Best viewed on an iPhone or Android phone or using a Chrome or Safari browser.
When Anton Chekhov’s classic The Seagull premiered on 17 October 1896 in St. Petersburg at the Alexandrinsky Theatre, it was a complete failure both in the audience’s, the critics’ and Chekhov’s own opinion. How then did a play initially booed by its audience become, as Konstantin Rudnitsky argues, ‘one of the greatest events in the history of Russian theatre and one of the greatest new developments in the history of world drama’?
'We want at the end of an hour and 40 minutes for the audience to have that same sense of a visceral face-punch.'
Robert Icke and Duncan Macmillan discuss adapting George Orwell's 1984 for the stage with Dominic Cavendish.
“A photograph is not an opinion,” mused Susan Sontag. “Or is it?”
It may be a mission. Exemplary practitioners like Robert Capa, Philip Jones Griffiths, Don McCullin, James Nachtwey and Gilles Peress are documentarists who refuse to be confined by that description. They are witnesses. But they are not neutral. They have a point of view – they are against forgetting. “What sustains me is the overall value in communicating,” says Nachtwey.
The cast of the autumn 2014 tour of 1984 discuss their thoughts on the play and the experience of performing 1984 on stage.
Frank Wedekind wasn’t really a playwright. Of course that makes no sense, since he wrote a whole bunch of plays, but it does have a meaning and it is possibly helpful to remember when staging Spring Awakening.
Language is more than simply words. It shapes the way we think. In the appendix to 1984, Orwell tells us that Newspeak is a language deliberately designed to limit the range of people’s thoughts and to make certain ideas unthinkable. It can be argued, however, that all languages, like Newspeak, limit the range of ideas that it is possible for people to understand.
What have the Big Bang, Clause IV and stagflation got to do with capitalism?
Robert Delamere, Jeremy Herrin, Dawn King and Tassos Stevens discuss the ways in which technology is transforming contemporary theatre and performance.
Can a woman take on the role of a tragic hero? Medea may have a tragedy named after her and play the starring role in it, but can she be considered a tragic hero in the strictest sense of the term?