In this production of A Clockwork Orange, the ultra-nasty ultra-violent opening handful of scenes echo pointlessly. Director Chelsea Walker challenges her actors to complex dance-fight sequences, but these are hollow, and her decision not to underscore this 'horror-show' bloodbath is poorly made. The displays lack texture. The show feels like what it is - a musical with the songs removed.

A Clockwork Orange started as a 1962 novel by Anthony Burgess (1917-1993) set around 1997 (full storyline - http://en.wikipedia.org/wiki/A_Clockwork_Orange). Teenager Alex and his friends ('droogs') enjoy inflicting extreme violence. He goes to prison and does aversion therapy ('the Ludovico Technique'). Violent films and their soundtracks make him sick, which conflicts with his love of classical music. Leaving prison he faces a difficult future. The novel is written in Nadsat, an invented language. It was filmed (www.imdb.com/title/tt0066921/) in 1971 by Stanley Kubrick (1928-1999).

In this production, the youths' wild enjoyment of savage cruelty is not clear; fantastic stage pictures abound, but these baffle rather than move. Chelsea Walker's performers are not the story's perilous social puppets, but a band of bluntly drawn stick-men. Acting is intentionally cartoon-like, but even cartoons must believe in themselves. Though Jacob Taee valiantly attempts to bring 'little Alex' to life, he is unsupported. Both the script and his fellow performers leave him cold. There are more fight scenes, now in orange boiler suits. The mood remains dispassionate; even the fervour of the prison chaplain (Nick Pullen) lacks volume and conviction.

Fortunately the production picks up. This is largely due to the striking performance of Christopher Thursten, who commands all his characters seamlessly: terrifying, realistic portrayals. While the stylised performance technique kills the humanity of the other actors' characterisations, his is frighteningly believable. This perhaps encourages Jacob Taee, who now comes into his own: his writhing sickness and attempted suicide are acted superbly - a bleak shiver runs down the spine.

The story finishes powerfully. Anna Fox's performance, slightly flat throughout, is genuinely touching as Alex's girlfriend, Marty. The warm emotion of romantic love is clearly far easier for these actors to grasp undirected than what has come before. But this means that the story's saccharine icing is in danger of making the moral genuinely sweet. There are many astounding moments in this version of A Clockwork Orange. Chelsea Walker is undoubtedly a very talented designer and choreographer - some of her stage pictures are wonderful. But apart from at a few gleaming points, the production lacks emotional integrity, leaving a feeling of indifference.

Cast Credits: (alpha order): Sam Bright - Georgie / Dad. Christopher Thursten - F Alexander / Comedian / Governor. Emily Precious - F Alexander's Wife / Minister of The Interior / Old Lady. Rob Hoare Nairne - Deltoid / Dolin. Nick Pullen - Philosopher / The Chaplain. Anna Fox - Dr Branom / Prison Warder / Marty. Richard Duffy – Dim / Joe. Jacob Taee – Alex. James Corrigan – Pete / The Doctor.

Company Credits: Writer (of novel, 1962) - Anthony Burgess (1917-1993). Writer (of adaptation) - uncredited. Director - Chelsea Walker. Choreographer - uncredited. Designer - uncredited. Lighting Designer - uncredited. Sound Designer - uncredited. Technical Operator - uncredited. Assistant Director - Sophie MacClancy. Costumes - uncredited. Photographer - Adam Levy. Producer - Sophie MacClancy. Company - EatTheBaby Productions. Company - www.aclockworkorange.org.uk.

END

(c) Rebecca Gibson 2009

reviewed August 09 / C Chambers Street, Edinburgh UK

Fringe Report (c) Fringe Report 2002-2012

www.fringereport.com