I am an unabashed fan of the Gamm Theatre. Their particular brand of provocative, boundary pushing, often weighty drama (and comedy) seems neatly tailored for my typically off-kilter sensibilities. Perhaps it’s due to the fact that I basically cut my theater-going teeth at the Gamm, beginning back at its former Jewelry District home, that my notion of what live theater should be is so thoroughly connected to what they do, but at this point I pretty much leave a theater disappointed unless my experience could accurately be described as harrowing.
With that in mind I went to see the Gamm’s current production of 1984. British playwright Nick Lane’s adaptation of George Orwell’s monumental 1949 novel makes its US debut at the Pawtucket theater. It condenses one of the most influential narratives of the last century into two acts that are imaginatively staged with a sparse set, multimedia effects and only five actors. To call it bleak would be an understatement. I didn’t think it was possible, but somehow the Gamm managed to make this season’s earlier production of the emotionally wrenching Danish tragedy Festen seem like a light-hearted farce by comparison.
The first thing worth noting is that from a technical standpoint, it is one of the most inventive and resourceful productions the Gamm has done. The limited space on stage is maximized and managed well. The sound and lighting immerse the audience in the grim dystopia of Orwell’s novel. And the multimedia effects, particularly the use of Big Brother’s infamous “telescreens”, is both an effective narrative technique and impressive feat of technical prowess.
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