Fernando Albarran

1984
Production Process

Below is my process for conceptualizing, building, and producing George Orwell's classic hit 1984 as a part of North Shore High schools' 2015-2016 season. *All photos and video clips used are from the rehearsal/ build process* 

Ideation

While I was reading this play in 2015 I was instantly creating the world I was reading about, even if it didn't match the description "suggested" in the script. I began imagining each scene in a hyper exaggerated futuristic world that had many hints of the modern world we are living in. Very sharp and robotic, The characters with iPads, iPhones, connecting to social media, tagging, and checking in to this world of Oceania. I wanted to explore a world where Big Brother was really always watching, collecting data and around the corner waiting for you to get out of line. The citizens of Oceania were almost matching the citizens of today, glued to their devices and feeding information to corporate industries. Industries who have the power to use that information to create Algorithms that keep you working and posting to their subscriptions.  Below is the Production Presentation created when I pitched the Idea of producing 1984 and the relevance to our audiences today.

Inspiration

Production

Evaluation

From the moment the company first met, I was a strong advocate in making the rehearsal climate one that created a strong ensemble. Never would I have ever expected to create a mentoring bond between the the cast members, Upperclassman paved the way for freshmen and rehearsals were run with an eager, excited energy that loosened inhibitions and sparked creativity. This energy was the foundation for such a successful, pride filled experience as actors were showing up to rehearsals with ideas and questions instead of waiting to be directed or "blocked" into each scene. (A directors dream!) 

This production was definitely a challenge as I wanted a stationary set with minimal furniture (as we shifted to and from five locations) and instead, focusing on adding actors and more "presence" on stage. I was able to accomplish this effectively with the use of the scrim fabric which smoothly revealed Silhouettes and a feeling that conversation or actions were never really private, again, selling the idea that "Big Brother is always watching." 

I can honestly say that this show was not like any other that had been performed previously at North Shore as parents and faculty were surprised by the content and commitment to telling a story that has the power to change the way we think.  Having my students' peers and parents see them in a different light was a bridge between on and off campus communities. 

In the end, my intent for producing theatre is very didactic- I want theatre to be a reflection of society in many different "what if" scenarios, causing audiences to leave with a broadened view of how we treat ourselves, each other, and our planet.

1984- Hudson Theatre, NYC  

Experiencing 1984 at the Hudson Theatre in New York City after its sold out run in London was such an amazing experience. Having spent so much time with the show I grew an attachment to understanding the world of Oceania and the complex characters that are Winston and Julia. Choosing to rewrite scenes for this revival took a twist on the 1984 we all thought we knew, through the script and direction we really were able to sit in Winston's mind and feel his progression throughout the performance. We establish a close relationship with Winston which makes the second half of the show harder to watch, as he is being tortured the house lights come on and Winston pleas to the audience to take action shouting "Please, help me!" and "Don't just sit there!" a great theatrical convention playing on the concept that big brother is always watching.

The set and technical elements made the show pack as much a punch as the script and actors, projections and live feed of camera footage made for a modern and dramatic statement (just like in my production). The apartment Winston and Julia end up living in was behind the fist set upstage so you couldn't see the actors but the scenes were fed through the telescreen camera that supposedly wasn't in the room. The audience is sitting there watching acting happen somewhere else being projected on the set, just like watching a movie. This served its purpose as the audience was watching what big brother was watching and it isn't until they are discovered that we understand the importance of that choice. At that moment the first set breaks off to reveal the apartment set and FBI type officials deconstruct the apartment set as they tear it apart looking for Winston and Julia, eventually the entire stage is cleared and lighting creates the holding room in MiniLove. When Winston is taken to room 101 is when my favorite technical moment occurs, Goldstien and Winston are on stage center, and three huge walls descend from up above enclosing Winston to his doom. After the walls land the lights pop from a dim epic lighting to the brightest white I have ever seen on stage, these walls resembled sanitarium walls in the all white scheme. 

The epic torture scenes really put things into prospective, the way the director managed to play out the scenes were modern in the torture styles. The audience was watching torture moves that still happen today, which in result were hard to watch. Yes, audience members at my performance did get up and leave during the torture. sadly for them they were not allowed back into the auditorium after leaving.

Overall Olivia Wilde (Julia) and Tom Sturridge (Winston) portrayed two of the most complicated but effortless character I have seen, they really understood the circumstances of the world around them and were receptive to letting those circumstance effect them throughout the show. Getting to meet them after the show and hear a bit about their process solidified the intense research and development taken for this high stakes version of the show.