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 The New Theatre
until September 27
Bookings: 1300 306 776
Anthony Burgess, it is said, was completely sauced throughout the writing of his 1962 novel A Clockwork Orange. Even so, through an alcohol haze he still cut a work that Time Magazine deemed one of the 100 best English-language novels written between 1923 (when the publication first came out) and the early noughties. Of course, the novel and even this play with music written by Burgess in the eighties still lives in the shadow of the 1971 cult film directed by Stanley Kubrick.
As it happens the film never appealed to me. I think the hard-as-nails film critic Pauline Kael was spot on when she described it as an “abhorrent viewing experience” made by a director “with an artistic spirit…determined to be pornographic, and he has no talent for it”. If you saw the Kidman–Cruise horror years later you’d know Kubrick still had no talent for it. So, what about Burgess’ play?
Well the story of the school-age sadist is as heavy handed as ever as far as I’m concerned. I was never taken in by Alex DeLarge, at his most euphoric when he’s beating and raping people, and as the story follows his crimes and misdemeanours, his imprisonment and brainwashing and finally his rehabilitation, you need to be rooting for this bad guy or it all washes over you. Burgess’ play has its moments, the best ones offering a stirring portrayal of nihilism, however, I still find the moral progress of his antihero unconvincing and Alex's last scene could be straight out of a Disney movie.
The New Theatre is very supportive of artists at the beginning of their careers and a lot of exuberance has been brought to this production by director Freida Lee and her cast and crew. The action is set in a near futuristic world ruled by a post-socialist China, wonderfully conveyed by designer James Croke's gobsmackingly good set.
The actors attack their multiple roles with enthusiasm but seemed very under-rehearsed on opening night. The physical nature of the piece requires much clearer delivery and precise movement. There is not nearly enough venom and viciousness. Alex (Peter Buck Dettman) is charismatic but not intimidating in the least – if I was at an ATM I wouldn't be looking over my shoulder and panicking because he was behind me. I also find it difficult to believe the Alex and his "droogs" would identify as Emo.
All that said the production has its good points and I’m sure it will improve over the run.
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Arts & Entertainment 
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