Reviewed by Judd Hollander
One of the more provocative dramas to hit the Off-Broadway stage in
recent years is the U.K. import, A Clockwork Orange. A
transfer of Anthony Burgess’ 1962 novel to the stage, the work is a powerful
indictment against violence, as well as the methods some people undertake to
try to stop it. The play currently having its New York premiere at New World Stages.
In present day England
While Alex has been able to talk his way out of tight scraps in the past
- due to his pretty face, his feigning ignorance of the seriousness of his
actions, and the hope others have that he can still be redeemed - all that
changes when he’s arrested for murder and subsequently convicted. Alex’s
downfall caused by a betrayal of one of his own gang. One whom Alex had tangled
with previously and who still nurses a grudge against him.
Once in jail, Alex continues to use his powers of persuasion to try to
skew the system to his own advantage. He helped in his efforts by prison guards
who are more than willing to turn a blind eye in certain matters, so long as
order is maintained. Upon learning that participation in a certain experiment
will lead to his almost immediate release, Alex quickly volunteers to be a test
subject.
However, the procedure in question is both revolutionary and
controversial. The plan being that it will supposedly remove Alex's inherent
violent tendencies by conditioning his body to reject them. Thus making the
process akin to a sort of lobotomy. There are also many who voice their
misgivings about the whole idea. Particularly the prison Chaplain (Timothy
Sekk), who feels that any such change has to come from within. But with a
society clamoring for protection against a systemic rise in violence, and the
resulting issue of prison overcrowding – which one prisoner protests against,
to no avail – the project is given the green light to proceed.
While the novel was written at a time where youth violence was on the
rise in Britain, the story remains quite timeless due to its central theme of
one’s personal rights – in this case the right to be violent - being sacrificed
for the greater good. A question that’s been debated numerous times over the
years and will, in all probability, continue to be long into the future.
Particularly ironic is how Alex finds himself becoming a tool for those
on both sides of the debate. First with the authorities who rely on an untested
solution to solve a widespread problem, thus enabling them to remain in power;
and later with the so-called "free-thinkers" who want to use Alex to
advance their own cause and condemn the experiment. Though in a rather poetic
twist, when one of those in the latter camp turns out to be someone who
previously suffered at Alex’s hands, he immediately condemns him. All the while
conveniently forgetting that the person Alex is now is quite different from who
he once was.
Davies, who previously played Alex in the U.K.
Also quite illuminating is a scene where Alex meets up with some of his
former droogs who have since become members of a law-enforcement unit. Their
new status being someone's idea of using "ex-villains to catch real
villains". The authorities giving these new recruits pretty much free
reign in terms of how they get the job done.
The rest of the all-male cast, many of whom play multiple roles, both
male and female, are excellent. Sekk in particular, does a good turn as the
firebrand Chaplain. Both via his speeches to the inmates and in his protest
against the experiment in which Alex becomes involved. Brian Lee Huynh is
quietly terrifying as Dr. Brodsky, architect of the experiment. A man supremely
confident in his theories and all too-willing to field test them, regardless of
the dangers involved. Another standout is Ashley Robinson as the Minister, a
career politician who sees Brodsky’s methods as a way of placating a frightened
public.
Also quite good is the way the cast (American except for Davies)
delivers the dialogue, particularly the droog-speak, all of which is indicative
of a sub-culture these young men share.
Direction by Alexandra Spencer-Jones is very well-done. Especially when
it comes to the stylistic approach used for much of the on-stage violence -
particularly when it’s Alex who's delivering it. This initially appears
somewhat disconcerting, until one realizes the audience is seeing the entire
story through Alex's eyes. Thus, when Alex is inflicting said violence, he sees
it as nothing less than beautiful. Though when the violence is done to him, not
so much. Davies being the show's Fight Captain also helps here. He working
hand in hand with Spencer-Jones, and Dance Captain Aleksander Varadian, to give
an otherworldly feel to much of the physical action presented. All of which
makes it no less terrifying. The accompanying music, both original and existing
– the latter of which includes Beethoven, a favorite of Alex's - helps to add
to this atmosphere.
Ending not with a bang, but with a whimper that resonates just as
strongly, A Clockwork Orange offers a powerful comment on the
cyclical yet continuing nature of violence and how those who are able to move
beyond it, only do so on their own accord. Though sadly, without leaving any
clues for the generations who come after to avoid falling into the same trap.
Featuring: Jonno Davies (Alex deLarge), Jimmy Brooks (F-Me Pumps/Billy
Boy/Governor/Policeman/Comedian/Dolin/Len), Matt Doyle (Georgie/Zophar/Nurse
Bromine), Sean Patrick Higgins (Dim/Pedofil/Joe The Lodger/Aide), Brian Lee
Huynh (Frank Alexander/Dr. Brodsky/Big Jew/Dad), Misha Osherovich (Pete/The
Doc/Rubenstein) Ashley Robinson (Minister/Old Woman/Rich
Bitch/Policeman/Mum/Bully), Timothy Sekk (Chaplain/Mr. Deltoid/Mary/Rick),
Aleksander Varadian (Marty/Warder/Mark Alexander/Dr. Branom).
A Clockwork Orange
By Anthony Burgess
Lighting Design: James Baggaley
Sound Design: Emma Wilk
Costume Coordinator: Jennifer A. Jacob
Dialect Coach: Stephen Gabis
Production Stage Manager: Vanessa Dodgson-Thomas
Assistant Stage Manager: Lilly Deerwater
Production Management: Libby Jensen
Company Manager: Kelly Ann Gray
Advertising and Marketing: AKA
Social Media: Janine Lee Papio
Press Representative: Vivacity Media Group
Casting: Stewart/Whitley
General Management: Martian Entertainment LLC/Glynis Henderson
Productions Ltd.
Original Music Composed by Glenn Gregory and Berenice Scott
Associate Producers: Rachel Roussel-Tyson/Tyrus Emory
Fight Captain: Jonno Davies
Dance Captain: Aleksander Varadian
Directed by Alexandra Spencer-Jones
Presented at New
World Stages
Address: 340 West 50th Street
Running Time: 90 minutes, no intermission
Closes: January 6, 2018
This production of A Clockwork Orange by Anthony Burgess was originally
developed and presented by Action to the World (U.K.) and directed by Alexandra
Spencer-Jones
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