Animal Farm

Being far from a fan of staged literature, I approached the barn with my expectations low, my feet very cold, fully prepared for the usual disappointment I face when a novel is turned into theatre. I was excited to revisit a favourite
childhood book, but had already decided that the production wouldn’t live up to my expectations. I could not have been more wrong. From beginning to end I was fully engrossed in one of the best things I have seen in the barn. The production team and cast clearly worked very hard, and it has paid dividends.

I was amazed at the transformation of the Drama Barn to a hay filled, animal enclosed Farm, a truly creative use of the space, designed by directors Sarah Palmer and Kat Ronson. Although the placing of seating occasionally restricted my view, I cannot see how they could have organised the Barn better. I was however disappointed that the story teller (Hayley Thompson) was hidden from view. The haunting look she shared with the audience at the end, as Napoleons Stalinist motions peaked, was a moment of excellence. I then wondered what I may have missed from her being stashed away in the balcony for the evening, and would challenge whether it was the best placement for Thompson as a more involved presence may have increased the tension during the show.

The cast deserve praise for the performances they gave, especially Mitch Holder-Mansfield, who very convincingly played the rather simple, but loveable Boxer, and Peter Marshall who stole the show with his performance as the villainous Napoleon. Marshall filled the stage with energy, confidence and a very believable passion for the cause. At moments comic and at others terrifying but always executed with conviction. Others who deserve specific praise for their performances are Adam Seldon, Toby King and Hannah Schembri. They are all very talented performers and were well suited to the parts they played. Oliver McKinley, at times didn’t share the on stage assuredness necessary to fully deliver the character of Benjamin. I felt that there was a lack of chemistry that halted relationships between him and other characters on stage.

The show was by and large very believable; Ronson and Palmer can hold their heads high with pride at the performance their cast gave. The direction was creative, obviously well thought out and the cast executed it well. The characterisation of nearly all animals was good; Ross Cronshaw, though generally very entertaining, at times didn’t quite grasp the necessary traits to present Moses to the audience, unlike Lizzie Stephens who was the most able in portraying her animals. I was slightly perplexed by the lamb costume; whereas most of the costumes were tackled with taste and subtlety, I felt a little let down when Stephens greeted the stage in a full on sheep costume. The other costumes and make up were to a very good standard, and unfortunately the costume in question didn’t make the grade.

With a play that’s success relieves so heavily on great characterisation from the cast and suspended disbelief from the audience, some of the magic was lost as one unfortunately miss-timed black out left me and the people around me faced with one of the farms betrayers unmasked still trying to make their way off stage. Yet there were many moments of the play that were excellent, it was gripping, well executed and impassioned.

Animal Farm proved to be a very enjoyable evening, though not faultless the entire cast did well and it can only get better as the opening night nerves diminish. If you are in two minds about seeing Animal Farm, please do yourself a favour and indulge yourself in a very entertaining piece of theatre.