Photograph by Marc Brenner)Ī Clockwork Orange is at the Everyman Theatre in Liverpool, until J. (Main image: A Clockwork Orange, George Caple as Alex. ![]() A stark contrast to the Everyman’s last offering, Paint Your Wagon, but the company felt far more at home in this dystopian vision than the whip-crackingly superficial plains of the West. Occasionally the references are a tad clunky – the appearance of a balaclava-wearing Jimmy Savile in prison gets a laugh but is oddly distracting – but overall, this is an atmospheric, unsettling and immensely engaging endeavour. The Minister of the Interior (a comic Keddy Sutton) doesn’t quite say ‘tough on crime, tough on the causes of crime’ but she isn’t far off, and the treatment of human beings as numbers, bottlenecks in the system to be shifted at all costs feels sadly resonant in this week of Windrush. Nick Bagnall’s production rattles along – the whole thing is two hours including an interval – and infuses the narrative with contemporary references about crime, punishment and personal freedom. The audience, like Alex, has been toyed with. Maybe he’s not so bad, just a rebellious, misunderstood youth? And then full circle, almost. Suddenly we feel almost sorry for him – even his beloved Beethoven, whose music has infused the show along with Burgess’s – has been stripped from him. Other possible solutions for A CLOCKWORK ORANGE ANTIHERO can be found in the solution table above. But punishment awaits, and the ringmaster becomes circus animal, a spectacle to be wheeled out by government ministers and a state that wants to quash crime but also free thought. For A CLOCKWORK ORANGE ANTIHERO the solution Alex is especially popular at the moment. In classic narrative terms, using the kind of literary terminology that describes the cause and effect of plot and character, Alex is the anti-hero, rebel or. Here, Alex is imperious, menacing and dominant. If certain letters are known already, you can provide them in the form of a pattern: 'CA'. ![]() In the ultraviolet semi-dark of the first half, Alex and his gang of droogs embark upon a rapid-fire series of outrages their Nadsat dialect sometimes hard to comprehend but the mood of ultra-violent rampage clearly conveyed. ALEX, GRU, OMAR Refine the search results by specifying the number of letters. The songs Burgess wrote to feature in the theatrical version – strangely sinister cabaret-style numbers in the main – are here performed professionally for the first time in the UK. A minimalist white cube – open-sided and yet somehow claustrophobic – with trapdoors, rising platforms and slides that make the most of the Everyman’s clever new stage to create a multi-levelled, futuristic playground/prison.Ī third star – or at least object of intrigue, for fans of the 1962 book of Stanley Kubrick’s movie version – must be Burgess’s own stage adaptation, written in 1986, 24 years after the novel he apparently rattled off in three weeks flat. The other is the set, designed by Molly Lacey Davies and Jocelyn Meall. One is George Caple, who flings himself into the role of anti-hero Alex, by turns sinister and pathetic, snarling and snivelling. There are two stars of this Everyman production of Anthony Burgess’s cult novel, A Clockwork Orange.
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