Where are you, Winston? 1984 the Play at Playhouse Theatre, London.

Big Brother is watching you and especially Winston Smith, who struggles to align himself to a suppressive totalitarian regime. Based on George Orwell's novel originally published in 1949, 1984 the Play condenses the narrative into 101 minutes packed with all the brutality, targeted manipulation and mind control the Orwellian state regime can muster. Robert Icke and Duncan Macmillan adapted the novel into a multilayered stage performance that cleverly overlays different times with characters neither seen nor heard by the others commenting from distance on Winston's diary, aspects of language, author- and readership. The war stricken country of Oceania emerges in haunting imagery of bluish grey and brown colours with sparse stage design resembling old East European communist countries. Flashing lights and frequent black outs drown out the atrocities of torture and heighten the sense of alarm of a suppressed population at the mercy of militia. Similarly, a permanent soundscape reverberates through the theatre to be felt in as much as heard. Projection creates a visual collective subconscious through slogans and the overbearing presence of Big Brother's surveillance. Alternatively, Winston's act of writing emerges as it happens and as it is immediately undone through doubt of the mind and pen strokes on paper.

In this claustrophobic setting, the action focusing on Winston, superbly incarnated by Matthew Spencer, unfolds. Winston finds himself in a very small minority of one who doubts the regime, questions permanent surveillance, the constant re-writing and undoing of records as well as language. Where is the truth? For Winston, history is truth and records ought to remain just that: precise records of what has happened. In a population beaten into submission, Winston does not wish to overlook how people become unpersons as entire existences are wiped out and deleted off records. In Winston's world, the reigning power not only creates its own reality, but writes and re-writes records to match its ever changing alliances. The party slogan emphasises power in stating 'who controls the past, controls the future: who controls the present controls the past'. Orwell echoes as well as foreshadows human and state practices of self representation. Throughout history, nations have been seeking self definition through their glorious past - glorious as purported and recorded by them. Especially, the states of Nazi Germany and Soviet Russia openly engaged with these practices. Germany in so far as it tried to connect its history to mythological Germanic tribes, whilst the Soviet Russia indeed deleted any record of political emigrants. Birth certificates, news paper articles and films were destroyed across the entire country to ensure no glorification of any traitor could happen. In essence, Winston's job to re-write records to suit the state image is no fiction.

Permanent surveillance through telescreens requires any citizen of Oceania to be on constant watch. Parson, splendidly performed by Simon Coates, discovers that even dreams may lead to thought crime and imprisonment. Winston's wish for privacy can only by understood. Too many areas are corroding under anti terrorism legislation, data storage such as server data or simple job applications asking for ethnic origin, sexual orientation and religious belief. Find a phone apps and online databases of addresses round off an image that equals Oceania. Orwell does not state how the nation Oceania came about, but what is seen day-to-day of citizens more or less voluntarily - yet always consciously - providing information in accepting terms and conditions of services offers an answer.

Within this setting, Winston encounters comrade Julia, performed by versatile Janine Harouni. Spencer and Harouni connect well onstage to render the passionate encounter between the two main characters believable. Winston thoughtful yearning for freedom and Julia whose carefree spirit breaks through the mask she needs to wear to survive. In contrast to Winston, Julia enjoys any of the little pleasures she can snatch. Be it real chocolate, real coffee or real sex, Julia finds ways to trick thought police and escape surveillance. Her small acts of defiance give her life and set her apart from the face- and lifeless mass of proles. Winston, less accomplished in hiding his true sentiments, longs to openly live his life. What is a game for Julia, is a nightmare to Winston. Inevitably, their endeavour to join the resistance movement leads to their downfall. The regime brutally clamps down on any deviant thought and action. Winston may not remain in his minority of one and is purged of his 'incorrect' perceptions.

1984 the Play touches on current issues that require our attention. In its stark and emotional staging, the performance has the power to strongly resonate within audiences. A tour de force raising questions on history, truth and especially surveillance in a utopian society that has manifold parallels to our current time. The strong concept, production team and outstanding actors carry the messages well. Orwell's narrative is not fictional, but very real and true to life and human nature. A fable of power more relevant now than ever.