THE FARM-TO-FABLE REVOLUTION IS HERE
One of the most extraordinary things about George Orwell’s novels is their prophetic power; they are perhaps even more relevant now than when he wrote them. Thus, it is incredibly timely that Steppenwolf for Young Adults should mount the present production of Animal Farm. Instead of reading it in light of twentieth century Russian history, it is now possible to interpret Animal Farm in terms of environmental degradation, the failed promise of capitalism, or the dishonesty of politics–democratic and dictatorial alike.
The popular story concerns the animals of Mr. Jones’s Manor Farm who, desirous to live free from the tyranny of human masters, plot a rebellion. But the new democratic society they establish soon reverts to tyranny. Althos Low’s adaptation of Orwell’s 1945 novella hues closely to the original while enlivening it with a fresh interpretation. (Dr. Althos Jepthal “Shanghai” Low is the pseudonym for writers Alice Austen and Steve Pickering of Shanghai Low Theatricals, an adaptation development group based in Chicago.)
In director Hallie Gordon’s capable hands, Animal Farm truly becomes a menagerie of perspicacious and prescient proportions. Setting up the stage lengthwise between two tiers of audience seating, she juxtaposes Orwell’s study and Jones’s farmhouse with the barn and its hayloft opposite. These are the twin poles of the action (Orwell provides a brief introduction at the top regarding the circumstances of writing Animal Farm).
Brian Sidney Bembridge’s carefully constructed and detailed set includes the house’s hunting trophies that horrify the farm animals, and the barn wall painted with the Seven Founding Rules, a.k.a. the Commandments of Animalism. J. R. Lederle’s lighting design provides seamless transitioning between scenes and serves to maintain the production’s even pacing.
Costume designer Izumi Inaba creatively fits each farm animal with hoof gloves and a kind of mask that leaves the mouth and eyes uncovered so that the actors can still express a range of emotions. As an incredibly effective metaphor for death, each character’s end is enacted through the stripping off of mask and gloves, which are left in a heap centerstage. Otherwise, each actor is clothed in a green jumpsuit and army boots, highlighting the revolutionary spirit of these far from docile livestock.
Either despite the masks or because of them, only certain characters really stand out from the herd. Lucy Carapetyan’s Maggie is particularly endearing as the odd hen out. Her twitchy movements aptly and comicly mimic those of her animal role, as does the braying speech patterns of Will Allan’s donkey Benjamin.
Each part is well-filled by the mostly youthful cast. Jasmine Bracey pours her heart into the voice of charismatic Old Major, the pig who gives the rebels their song and slogans. As her polar opposite, Blake Montgomery proves to be a sinister swine as Napoleon, who gradually erodes the idealistic order Old Major had set in motion before her untimely death.
Enlivened by music (Rick Sims), action, and ideas, Steppenwolf for Young Adults’ Animal Farm opens the season on a high note. It is a production for both young and old that cannot fail to ignite the imagination and inflame the spirit. “All hail the revolution.”
photos by Michael Brosilow
Animal Farm
Steppenwolf for Young Adults
Steppenwolf Theatre Company
Upstairs Theatre, 1650 N Halsted St
Fri at 7:30; Sat at 3 and 7:30; Sun at 3
scheduled to end on November 9, 2014EXTENDED to November 16, 2014
for tickets, call 312-335-1650
or visit www.steppenwolf.org
for info on this and other Chicago Theater,
visit www.TheatreinChicago.com
