Anthony Burgess 'A Clockwork Orange'

Fourth Monkey’s Clockwork Orange smolders with a visceral energy that flares into violence at the slightest excuse. Telling the story of Alex, a young vicious thug, and his friends who rape, abuse, beat and kill without hesitation, the play assaults the audience’s senses. It uses a mixture of powerful classical music and thumping dance beats, combined with soft filament bulbs and flashing strip lighting to keep the audience in a constant state of discomfort.Like Alex during his later Ludovico Treatment – which robs him of the ability to do wrong – we are unable to look away from the violence and horror. A blood-stained umbrella is put to use in a rape scene, realistic vomit bubbles into a bowl but the audience watches on, transfixed. Through the mayhem, Amy Brangwyn’s Alex swaggers and leers, demanding and receiving attention and respect from both ‘Droogs’ and audience – she is a dominating presence in any scene. Brangwyn is just as believable as a blubbering, sycophantic wretch, capturing perfectly Alex’s mixture of vulnerability and hatefulness. The rest of the cast create a strong, menacing chorus. Individual characters feature briefly and melt back; Mr Deltoid (Bianca Beckles-Rose) is a slimy representative of good no better than evil, Dr Brodsky (Ellen Rose) moves like a lascivious puppet.The violence can become too much, giving the piece an unrelenting single tone. This is offset by Gianni Tozi’s Chaplain and F Alexander, played with a gentleness that is a welcome relief from the rest of the play. Occasionally the cast bursts into raucous, swaying song: combined with the checks, buckles, puffed sleeves, hoods and harem trousers of the costume, this lends the show a dark carnival atmosphere. Even their curtain call packs a punch. This is a powerful, demanding adaptation of Anthony Burgess’ classic, and is not to be missed.