IT'S been forty years since I read and subsequently studied George Orwell's novel 1984.

Written in 1949 it has never dated. It has not been out of print. And it is very much a relevant school text book.

George never lived to see the reaction to his tale of a dystopian nightmare.

But he would have been proud that we are still talking about and analysing its bleak predictions.

A world where love is a four- letter word and 'trust'  is dismantled and dissected in the totalitarian corridors and cabinet rooms of myopic leaders.

Now, in 2024 terms like Big Brother and Room 101, remind us of Orwell's dark vision. 1984 was ahead of its time. 

Social media, CCTV and AI all dominate our lives and Orwell predicted it.

Some critics believe 1984 is one of the greatest horror novels of all time

Here writer Ryan Craig provides a new very dark adaptation deleting certain characters all together without losing any of the stark and scary plot.

Adaptations and interpretations do come an go and each version leaves its mark.

This is one that will stick in the memory banks. On press night a party of students were seriously debating it during the interval and on leaving the theatre. A good sign of impact.

Theatre Royal Bath is touring this vibrant version with its graphic and  - at times - painful-to-watch scenes that pull no punches.

Mark Quartly is Winston from the Ministry of Truth who falls in love with fellow boiler-suited worker Julia (Eleanor Wyld).

He keeps a diary and the two have clandestine meetings in the countryside - this is the only time colour enters their grey world on the stage thanks to top-notch projection.

Watching over their every move and plans for rebellion is sinister minister O'Brien of the Thought Police played by the  accomplished and versatile Keith Allen.

His calm but eerie presence is unsettling throughout.

The first half of one hour nine minutes (yes, it's very precise) sets the scene for the gruesome torture sequences in the 45 minute second half.

A visit to the rat-ridden Room 101 is also shocking.

There are many look-away moments in Lindsey Posner's well-paced direction.

Designer Justin Nardella's big screen backdrop  also adds to the tension which builds and builds to an ending where Orwell leaves us with more questions than answers.

Striking, sharp and Stylish

4 Stars

Until Saturday

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