0:00:34 > 0:00:37I first read 1984 when I was around 15.
0:00:37 > 0:00:40And I just really connected with the main character
0:00:40 > 0:00:43in this kind of journey against the system
0:00:43 > 0:00:45and all of the different,
0:00:45 > 0:00:46sort of, concepts within the book.
0:00:46 > 0:00:49And they just seemed very relevant to me at the time.
0:00:49 > 0:00:54Ever since, it's kind of been in the back of my mind as one of the books
0:00:54 > 0:00:57that I want to, sort of, reimagine for the stage.
0:00:57 > 0:01:01So the process of translating it from, sort of, page to stage,
0:01:01 > 0:01:04really, is a very lengthy one.
0:01:04 > 0:01:06It starts with me, you know,
0:01:06 > 0:01:07knowing the book inside out
0:01:07 > 0:01:11and then using that and staying very loyal to it -
0:01:11 > 0:01:16sort of imagining in my adaptation what would work scene by scene,
0:01:16 > 0:01:18and how to tell this quite, you know,
0:01:18 > 0:01:21structured, difficult story, really.
0:01:21 > 0:01:26And so from those... I call it, like, my narrative action script...
0:01:26 > 0:01:28So once I've got that script,
0:01:28 > 0:01:30it's about working with the different collaborators.
0:01:30 > 0:01:33So first, it's working with composers.
0:01:33 > 0:01:36So Alex Baranowski and myself would sit down
0:01:36 > 0:01:40and he would just go with, "What does the world of 1984 sound like?"
0:01:40 > 0:01:43And then once we have that musical world, it's about
0:01:43 > 0:01:44creating a visual world.
0:01:44 > 0:01:47And so once you come to the first day of rehearsals,
0:01:47 > 0:01:52in my mind, there's this musical and physical world created.
0:01:52 > 0:01:57And it's about, sort of, layering the physical script,
0:01:57 > 0:02:00the physical choreography of the action
0:02:00 > 0:02:02and the characters within that world.
0:02:02 > 0:02:06I mean, my ambition is to tell this story without words.
0:02:06 > 0:02:09And it's a very cinematic quality to the production.
0:02:09 > 0:02:13And the kind of focus of the story is really helped
0:02:13 > 0:02:15by capturing it on screen.
0:02:15 > 0:02:18And so if I was to speak to an audience,
0:02:18 > 0:02:22all I would ask is that they were very open
0:02:22 > 0:02:26to seeing this modern classic in a different way.
0:02:28 > 0:02:30MUSIC STARTS
0:47:34 > 0:47:37APPLAUSE
0:47:50 > 0:47:52MUSIC STARTS
1:26:15 > 1:26:19APPLAUSE
1:26:48 > 1:26:50CHEERING
1:26:54 > 1:26:57CHEERING
1:27:14 > 1:27:17APPLAUSE CONTINUES
1:27:24 > 1:27:26CHEERING