A Clockwork Orange – A Dynamic and Arresting Stage Adaptation
PUBLISHED November 1st, 2015 04:00 pm | UPDATED June 23rd, 2020 08:17 pm
“If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil.’
This November, ABA Productions, Diva Productions, and Glynis Henderson Productions proudly presents Action to the Word’s A Clockwork Orange, based on Anthony Burgess’ dystopian novel of the same name. Directed by Alexandra Spencer-Jones and featuring an all-male cast, this is the first time the play has made the Singapore stage.
Widely hailed as a literary masterpiece, A Clockwork Orange was first published in 1962, and Stanley Kubrick’s controversial film adaptation followed in 1971. The cult film was banned in Singapore for more than 30 years, having been screened locally only once in 2011 at the Perspectives Film Festival.
Exploring themes like conflict between the individual and the state, the rehabilitation of juvenile criminals, and the morality of free will, the storyline is illustrated through scenes of ‘ultra violence’ and told with linguistic originality in nadsat (a transliteration of the Russian suffix for ‘teen’).
With many words used Slavic in origin, the language used by Alex and his ‘droogs’ (from the Russian drugi, friends in violence) would seem as queer as a clockwork orange to the uninitiated. However, their language is essentially Anglo-American; Burgess intended his use of Nadsat to be a ‘brainwashing device’, and felt that providing a glossary would nullify the point he was trying to make. Most of the seemingly unfamiliar words are clarified by context as the plot progresses.
Follow Alex and his gang as the narrative begins at the Korova Milkbar, where they begin their rampage through a fictional dystopian society, hunting for terrible thrills while high on milk laced with drugs and appreciating Beethoven’s Symphony No.9. Alex’s gang turns on him during one of their violent outings, leading to his arrest and a prison sentence.
During his incarceration, Alex is chosen to participate in a trial version of a rehabilitation programme, which leaves him incapable of brutality – but the past catches up with him after his release. The plot thickens, when Alex finds himself at the mercy of the state, becoming an unwitting pawn in the political struggle between government and opposition.
As the main character, Alex is too brutal and too strong to be either the antagonist or the protagonist. You have to see him in action to decide for yourself!
Another integral feature of A Clockwork Orange is the music. As intriguing as the language, the solid soundtrack is paired with ‘ultraviolent’ lyrics and accompanied by an electrifying performance by the cast. As Alex would describe, it’s “gorgeousness and gorgeosity made flesh”.
There are tweaks to Burgess’ original but the themes of A Clockwork Orange are just as relevant now as they were before; so get your tickets now and ‘viddy’ this ‘horrorshow’ version.
This post is sponsored by ABA Productions.
