1984
at Lake Braddock Secondary School

Reviewed on November 22, 2014

Stephen Coakley
Tuscarora High School
Submitted for publication to Washington Post - Fairfax

Dystopian society reigns over England. One's climate of thought becomes limited due to an oligarchical government's control of absolutely everything. One is trained to believe that "Slavery is freedom," and "Ignorance is strength." One is always being watched. Such ideals are explored in Lake Braddock Secondary School's haunting, but provoking take on George Orwell's 1984.

Adapted from the 1949 novel by R.L. Mirabal, 1984 delves into the world of Airstrip One, formerly England, where the Inner Party elite rule over all with constant surveillance in order to prevent oppression, poverty, or injustice. Having an authority-challenging thought is criminal and is punishable by death. Complacency lurks until Outer Party members, Winston Smith (Liam Finn) and Julia (Marissa Chaffee) attempt to rebel. However, they are unsuccessful in their endeavors and continue to become brainwashed by the all-powerful Big Brother.

Character development is a must in a show that follows rebellion, and leading man, Liam Finn, depicted this impeccably. His transition from a subdued persona in Acts 1 and 2 to a tortured comrade in Act 3 was engaging and entertaining. Opposite Finn, Marissa Chaffee displayed an impeccable character arc and was the most enjoyable actress of the performance. Together the two had passionate and believable chemistry.

Supporting roles were also sure to please, specifically Levi Meerovich as the antagonistic O'Brian. Meerovich displayed an absolute intoxication with power that chilled to the bone. His ability to memorize and recite astronomically long monologues also impressed. He improvised his way through technical difficulties, seeming completely unfazed. Sarah Kreinenbrink dazzled the audience as the elderly Agnes, performing haunting lullabies with her silky vocals.

All ensembles collaborated wonderfully and furthered the feeling of rage towards traitors of one's government. During the opening "2-Minutes Hate" scene, all actors remained perfectly in character and exhibited a plethora of various intentions and emotions. The ensemble of "The Guards" displayed an intimidating, militaristic presence that juxtaposed the rebellious party members.

Technical aspects of the performance were astonishing and original. Kyle Dannahey's lighting design was acute and innovating. All lighting accurately reflected the mood of the scenes and cues remained flawless. The set, while minimal, served its function and featured a screen with live projections, furthering the dystopian aura of the production. Micaela Hamron's costume design was consistent across the board and featured vibrant, well-tailored pieces. Together, the collusion of technical elements created beautiful and memorable stage pictures.

Lake Braddock Secondary School showcased a society in shambles with zeal and aplomb. Despite some hiccups in sound, the cast and crew left the audience with a thought-provoking and technically stunning piece with their production of 1984.

Santiago Mallan
HB Woodlawn
Submitted for publication to Washington Post - Fairfax

A chilling voice cuts through the theater. "The Two Minutes Hate will begin in two minutes." In an instant we are transported away from the Lake Braddock Secondary School Auditorium and immersed into the oppressive world of George Orwell's 1984.

Written in England a few years after the Second World War, the novel 1984 is steeped in the sentiment of its time. The Cold War was in its infancy, and not much was known about the effects of communism and whether it was a viable system of government. According to the Marxist literature it was based on, the Soviet Union was the common man's Utopia. The battle-weary Allied powers were wary of involving themselves in another conflict, and if the Soviets were so happy, how bad could it be? 1984 aims to answer that question.

Set in the then-futuristic year of 1984, it presents a world in which all nations and states have conglomerated into three constantly-warring socialist superpowers. Set in the Party-run state of Airstrip One, Oceania (formerly known as Great Britain), it follows the life of a downtrodden newspaper censor named Winston Smith as he struggles to avoid being caught by the Thought Police for his secretly revolutionary tendencies. He meets a similarly-minded Party worker named Julia, who introduces him to a world of rebellion and danger that leaves him questioning reality.

From the beginning of the show, we are greeted by the friendly Voice of the Party (Kaitlyn Lunardi). In an impressive feat of tech maneuvering, her visage is projected live onto a towering screen-like set piece at the back of the stage throughout the show. While her convincing performance was hindered by a few technical issues with video and sound quality, the concept as a whole was creative and well-executed.

The role of Winston Smith was taken on by Liam Finn. His tortured performance was haunting and effective, and he stayed in character perfectly through sections of long monologue and dialogue. His projection was impressive and his diction was mostly very clear. Marissa Chaffee as Julia had a fiery stage presence, always commanding attention whether or not she had lines. Her passion kept the show on its feet through its few dull moments. The chemistry between the two of them was palpable, and worked very well for the shocking end of the show.

Levi Meerovich's portrayal of O'Brien, the enigmatic and shifty high-ranked party officer, was powerful and accurate to the novel. He was a formidable force onstage and carried a sense of mystery and superiority throughout. The rest of the ensemble was equally committed and in-character and their bustling background choreography added immensely to the effect of the stage.

The meticulously controlled, soul-crushing atmosphere of the book is reflected flawlessly in the set, lighting, and costume design of the Lake Braddock production. The stage is composed in a minimalist style, utilizing just a few props and set pieces throughout. This, along with the uniform jumpsuits of the party members and the somber lighting, make for a successfully oppressive mood.

Dedicated acting, impressive tech, and clear projection of accented voices come together to create a well-oiled production that succeeds in raising big questions about the function and purpose of society and government, and the resilience of the human spirit.

Emily Carbone
West Potomac High School
Submitted for publication to Patch.com - Fairfax

Big Brother is watching. This fear-invoking slogan surrounds the people of Oceania in George Orwell's book, 1984. 1984 was published in London in 1949. Orwell's novel depicts a dystopian future society in which a government known as the Party controls every aspect of daily life; even thoughts. Those who disobey the Party and their semi-divine leader Big Brother may face terrifying punishment, torturous "conversion" practices, or even death. On the evening of November 22, 2014, Lake Braddock High School went back to the future of 1984, presenting an original theatrical adaptation of Orwell's book.

As the lights went up in the Lake Braddock Theater, the audience was immediately taken to a bustling city. Held against a minimalist set, energized actors stationed throughout the audience effectively reflected a large crowd of people. As they all turned to face a telescreen in the center of the stage, it was made clear that life in Oceania revolved around messages coming from the media source. The telescreen played videos of actors and animations (created by Breese Sherman) throughout the play, aiding in the description of some broader concepts presented in Orwell's book. The use of the telescreen greatly furthered the play's understandability and realism, especially when used for messages from the Voice of the Party (Kaitlyn Lunardi). Lundardi's real-time filming and calculated acting choices depicted the perfect balance of cold-hearted government official and influential public speaker. Although the media pieces did not always fit on the screen and the video sound often produced excess background noise, this piece of technology was effective and well-utilized. Other notable tech elements were lighting, props, and costumes. Lighting, designed by Kyle Dannahey, used colored cues to represent different themes throughout the play. Well-thought-out lighting also kept certain areas of the stage dark when they were not in use so that scene changes could happen while actors were still talking. This allowed for quick, seamless transitions that kept the show moving without unnecessary pauses. Props by Diana Sudak included incredibly detailed guns, working pipes and cigarettes, and live rats. These gorgeously designed props appeared natural and realistic, enhancing the story as opposed to distracting from it. Costumes by Micaela Harmon were simplistic and clean, working well together onstage. This created a natural, realistic look that clearly communicated the class divisions presented in the play.

No matter how fabulous a production's technical elements are, you can't have a hit without equally impressive actors. Liam Finn as Winston, Marissa Chaffee as Julia, and Levi Meerovich as O'Brien carried the show through unimaginably lengthy monologues. Especially notable was the visible chemistry between Finn and Chaffee. They portrayed an intensely intimate couple without projecting any awkwardness or uncomfortable feelings, helping the audience to forget the age of the actors and to see the two adults that they were playing. All three actors displayed professionalism through their conscious choices and active listening onstage. They interacted naturally with one another and the audience, remaining in the moment at all times. Not one of their actions seemed forced or exaggerated, creating a realistic dialogue well beyond the high school standard.

With well-designed technical elements and impressively professional actors, Lake Braddock's production of 1984 was a smash hit. Take a page out of Big Brother's book and keep an eye on this school. It is clear that they will be doing more great things in the future.

Isabel Zapata
McLean High School
Submitted for publication to Connection

There is no freedom of expression. Individuality does not exist. The Inner Party harnesses supreme power, and there is no hope of toppling the government. Every action is recorded. Every thought is monitored. Through the production's powerful commitment to these dystopian ideals, George Orwell's 1984 engulfs Lake Braddock High School's theatre in suspense, panic, and eerie glorification of the almighty Big Brother.

Orwell's work was first met with conflicting reviews; some critics disliked the dystopian satire of totalitarian regimes, bureaucracy, and nationalism, while others pilloried it as nihilistic prophesy on the downfall of humankind. Nevertheless, 1984 remains one of the world's most widely read and quoted novels from the 20th century. It is set in Airstrip One, the former Great Britain, and follows the conflicted Winston Smith, a worker in the Outer Party of the government. The society Winston lives in is bombarded by propaganda that creates an idealized and worshipful image of Big Brother, the quasi-divine Party leader. As the story progresses, the plot explores Winston's dreams of rebellion against Big Brother and the havoc that consequently ensues.

Working with an original adaptation of the book, the actors impressively memorized and perform complex monologues that intermittently span over twenty minutes. Carrying the plot, Liam Finn (Winston Smith) aptly expresses his character's curiosity for the customs abolished by the Inner Party through enlivened body language. Finn notably displays the effort it takes for his character to control his emotions, which creates a powerful third act in Winston's confrontation with Inner Party member O'Brien. Through variations in intonation and volume, Finn proficiently exhibits his character's complex attitude toward the values in the dystopian society. As Julia, fellow Outer Party member and secret rebel, Marissa Chaffee not only displays one of the most commanding presences on stage, but also exhibits believable chemistry with Finn as they explore their forbidden relationship.

Levi Meerovich skillfully portrays the conniving, duplicitous O'Brien and additionally in carrying the third act through commitment to his elaborate and lengthy monologues. Meerovich exhibits composed, unhurried physicality to portray his role as an intimidating antagonist. Furthermore, Meerovich projects in an excellent British accent commonly associated with the higher class to communicate his status as an Inner Party member. As Martina, Jessica Novis effectively presents a tranquil, soothing voice perfectly suited for someone who is responsible with keeping control over the masses and manipulating their emotions. In of the most gripping scenes of the performance, Nick Edwards (Bumstead) displays his prowess in portraying pain through excellent reactions to the guards' physical abuse and a compelling vocal expression. During the two minutes of hate, the ensemble shows skill in performing the effects of mob mentality through riveting expressions of anger and chanting.

The technical aspects of the production greatly enhance the dystopian setting and suspenseful atmosphere of the totalitarian government. The most prominently displayed technical element is the projection of the telescreen broadcasts onto a large box that looms over the stage. The projections feature live feed of actors and animations that help keep the audience engaged and visualize the extensive monologues. The lighting crew skillfully uses their cyc to create engaging silhouettes and respond promptly to cues. The costumes feature a handful of prominent uniforms that greatly enhance the lack of individuality in the society along with excellent wound make-up. The stage also features a versatile set that is quickly brought on and off by the running crew, along with detailed and efficient props such as the various cigarettes and live rats.

Through consistent energy and commitment, Lake Braddock High School effectively produces a suspenseful rendition of George Orwell's 1984. Big Brother is proud.

Nicole Gray
St. Stephen's and St. Agnes School
Submitted for publication to Fairfax County Times

The year is 1984. An echoing heatbeat fills the auditorium as cast members robotically chant "Big B, Big B, Big B...": a haunting manifestation of the pack-mindedness of the characters in this vision of dystopian England. Women parade around with "Anti-Sex League" sashes tied around their waists and monochromatic jumpsuits adorn all party-members. The audience keeps a stunned silence.

Lake Braddock Secondary School's production of 1984 was based directly off of the worldwide bestselling novel published in 1949 by Eric Blair: an author better known by his pen-name, George Orwell. This thought-provoking novel explores phenomena such as war, truth, infallibility of those in positions of power, manipulation by individuals as well as by one's government, privacy, the lack thereof, and love. Since it's publication during the mid-twentieth century, the themes presented in 1984 as well as words and phrases coined in the book have become part of standard English-language vernacular and have become even more obviously prevalent in society, specifically that of western cultures and nations, as the years go on.

Students at Lake Braddock Secondary School performed this riveting tale not from any pre-published script, but rather from an original book-to-stage adaptation which, while longer than most high school plays, did well to encapsulate the true tone of the classic literary work. Students should be commended for their astonishing propensity for memorization as a majority of characters with speaking roles had multiple minutes-long monologues and never noticeably faltered in regard to delivery of these drawn-out speeches. Especially impressive in this regard was Levi Meerovich who played the role of O'Brien. His many orations communicated vital information from the novel to both other characters as well as to the audience who, without these characterized narrations, would have struggled to keep in order all of the Orwellian jargon spoken in the play.

Challenges often arise for casts as large as 1984's. However, this ensemble remained consistently engaged at all points while onstage and rarely distracted from the main action of scenes. This, in part, kept the production seamless and almost never kept audience-members waiting for the next scene. Aiding in this effort was Max Grove's simplistic yet versatile set coupled with Kyle Dannahey's lighting and use of gobos to relay various settings, which allowed a multitude of places to take form while keeping some large pieces stationary. Even though some set-pieces were noisy and could distract from the dialogue, actors could generally be heard rather well- a feat for a production using no body microphones on actors.

All-in all, just as 1984's characters celebrate the victory of totalitarian governments, one should join in the movement to celebrate Lake Braddock's victory in creating a powerful, thought-provoking show complete with cohesive acting and innovative technical elements.

Margaret Gorguissian
West Potomac High School
Submitted for publication to Bear Facts

War is peace. Freedom is slavery. Ignorance is strength. These words, slogans of the Party, filled the theater in Lake Braddock Secondary School's chilling performance of 1984, adapted by R. L. Mirabal directly from the novel. Published by George Orwell in 1949, the dystopian novel, 1984, tells of a nation known as Airstrip One, formerly Great Britain, under the totalitarian rule of the Party and the omnipresent and semi-divine Big Brother. Winston Smith, a member of the Outer Party, begins to question Big Brother and the Party's authority, which leads him to engage in a affair with another rebel, Julia. His individualistic thoughtcrimes cannot be excused by the Party, and soon he is imprisoned and tortured until he submits to the Party's doctrine of reality.

Liam Finn, as Winston Smith, demonstrated the subdued individuality of the character, and developed his character throughout the show with strong physicality, most notably in his torture scenes and his moments with Julia. Marissa Chaffee's performance as Julia was played with great skill, and her character's youthful confidence and pragmatism was highlighted in her scenes shared with Finn, with whom she had natural chemistry. Levi Meerovich gave a impressive performance as the powerful Inner Party member O'Brien. Meerovich had a commanding stage presence that embodied the authoritarianism of the party, and his ad-libbed lines during technical glitches were clever and seamless. Kaitlyn Lunardi was never seen in her role as the Voice of the Party, however, her steady and clear voice over the speakers as the placation of the masses was both soothing and eerie. Also notable was Madeleine Long, whose performance as the brainwashed and fervent Party supporter, Parsons, would have been amusing if it wasn't so unnerving.

All cast members deserve praise for their commitment to their accents, which were unwavering, and their memorization of multiple lengthy monologues lifted straight from the page. The ensemble's chanting and chest pounding, resembling a heartbeat, in adoration of Big Brother was ominous, though some of their more raucous scenes were a bit stilted.

Lighting, designed by Kyle Dannahey, was excellent. The use of red and blue color washes against the cyclorama, along with lighting that travelled with the actors, emphasized the play's themes of nationalism and surveillance. The stark dramatic lighting worked well with the minimalistic set, designed by Max Grove. Breese Sherman's media projections onto the the large "telescreen" upstage worked in conjunction with Kaitlyn Lunardi's Voice of the Party to transform the theatre into a dystopian world. Diana Sudak's property design had demonstrable attention to detail, and the use of live rats in the torture scenes was creative.

In an age where there are CCTV cameras on every corner, and the NSA cries that ‘if you have nothing to fear, you have nothing to hide,' Orwell's 1984 is especially poignant. As Lake Braddock Secondary School reminds us, Big Brother is always watching.

Sophie Bengzon
Herndon High School
Submitted for publication to Bear Facts

Imagine the country of Oceania, which is constantly at war with…Eurasia? Eastasia? It's difficult to tell, considering the malicious Ministry of Truth rewrites history every day. Inner Party members are the select elite, Outer Party answer to the Inner Party, and the proles are the commoners. But everyone, no matter the class, must respect and even love Big Brother, who watches their every move. Winston Smith is an Outer Party member, typical in every way but one: he chooses to question his world. George Orwell's chilling novel 1984 speaks to government control and what becomes of those who think outside the box.

Lake Braddock Secondary School's production of 1984 featured an extraordinary level of technical expertise. The show, directly adapted from Orwell's book by the director, featured several quick set changes, helped by the minimalist design of the set. This versatile set design, featuring multiple small key pieces rather than a single large one, helped to effectively capture the feeling of Orwell's world, where rations of everything are tightly controlled. Set changes were also always covered by the use of the "telescreen": in Orwell's world, a video monitor that watches everyone and everything, all the time. The use of the telescreen not only prevented any dead time between set changes, but was an innovative way of keeping the telescreen, so vital to the storyline of the play. The telescreen was also put to use during several of the longer monologues, providing a wonderful visual of whatever idea was being explained at the time and reminding the audience yet again of its importance. Other props, such as pipes that appeared to blow actual smoke, also showed the creativity of LBSS's tech crew. Lighting cues were sharp and clean, successfully setting the mood for whatever scene was being played out at the time. Makeup changes were swift and well-executed. Despite some minor timing errors, sound was altogether good. Mics had little to no feedback, and many sound cues elevated the effectiveness of certain props and scenes, such as the sizzling of the electric chair or the chirping birds in the forest where Winston and Julia first truly come to know each other.

Winston and Julia were beautifully brought to life by the actors who played them. Winston, played by Liam Finn, was the perfect subdued man of his world. Finn's subdued mannerisms of a man oppressed in society transitioned terrifically into the rage and terror Winston felt when imprisoned. Julia, played by Marissa Chaffee, was one of the most commanding presences onstage throughout the entire show. Both actors had superb chemistry without overdoing the romance; a trait rarely seen in high school productions. Levi Meerovich, in his role as O'Brien, brought another serious, imposing presence to the show. Meanwhile, Parsons (played by Madeleine Long) added a lighter energy to the somber play. Energy was also seen in all members of the ensemble, who tackled their roles with vigor and remained consistent and in character throughout the entire play, even through the occasional prop problem. The entire cast maintained excellent diction through the show, despite the rough accents often required of the character. Perhaps most impressively, principle roles had monologue after monologue to remember; no easy feat, considering the three-hour length of the show. Not a beat was skipped nor a word forgotten, and if it was the audience certainly didn't notice. Lake Braddock Secondary School's performance was an unforgettable one: even if the Ministry of Truth does rewrite the books.