Animal Farm – Leeds Playhouse

People can be beasts so what better way to explore the mysteries of the human psyche than through a bunch of animals who rise up to take over a farm.

George Orwell’s Animal Farm was on one level an allegory as anthropomorphic animals banish their brutal human masters to create their own society, but underneath the metaphors it remains a pin sharp examination of human nature.

The novella was inspired by Orwell’s experiences in the Spanish Civil War when Stalinist zealots undermined the leftist Popular Front letting Franco’s Fascists take power and serves as a salient reminder that it takes only one monster to smash democracy. Animal Farm is celebrating its 8oth anniversary just as populism rears its ugly head across the world, so there has rarely been a more important time for it to be revived for the stage.

Amy Leach’s always energetic direction and taste for often visceral theatrical flourishes sees plenty of blood being thrown around as she makes the most of Tatty Hennessey’s adaptation. Hennessy wisely keeps the novella’s building blocks, supporting Leach’s attempt to give the story a contemporary feel, but it doesn’t always pay off, especially Em Prendergast’s sassy pigeon who seems to have flown in from another play.

Leach’s typically dynamic direction of actors drives a strong cast to tease out the price of idealism and the weaknesses of animal/human nature that give wannabe dictator Napoleon the pig and his pathetic acolytes their power grabbing opportunity. She is always confident incorporating movement into her pieces and Kane Husbands’ choreography pushes the cast hard, especially in a balletic Battle of the Cowshed.

Leach continues her long term relationship with designer Hayley Grindle as they deliver a dark and angular metal set with the farmer’s living room towering over the pens. It helps illuminate the realities of farming where sentient animals are bred for slaughter, or the knacker’s yard, and offers a suitably dystopian backdrop for the bloody horrors of any revolution gone bad.

The charismatic Tachia Newall’s Napoleon doesn’t quite convince as a leader until a powerful final speech when the depths of his moral depravity are finally revealed. His sparky sparring with Robin Morrissey’s idealistic Snowball is full of tension as the rebels are slowly conned into believing that some animals are more equal than others.

The undoubted star of this production is Tom Simper’s slippery Squealer who gradually introduces doublethink as he ruthlessly manipulates the easily led animals. Every choice Simper makes is spot on, and so full of carefully calibrated malice that it’s unlikely you’ll see a more selfless performance this year.

Gabriel Paul brings a quiet dignity to shire horse Boxer riffing nicely off Dave Nellist’s wonderfully sardonic donkey who has seen it all before. Tianah Hodding is moving as an increasingly conflicted Clover the mare, Brydie Service ramps up the anguish as Clara the hen and Farshid Rokey bounces round the stage as a silly sheep.

As The Who once sang ‘meet the new boss/same as the old boss’ so it’s no spoiler that Animal Farm like Orwell’s equally cynical 1984 ends badly for the ‘good guys’. This Olivier nominated production shows us that we ignore history at our peril, and offers a timely reminder that good intentions always flounder when a self serving sociopath just doesn’t give a hoot about democracy.

Animal Farm is in the Quarry Theatre, Leeds Playhouse until 29th March. Age 11+ Book online www.leedsplayhouse.org.uk or 0113 213 7700.

Reviewer: Paul Clarke

Reviewed: 13th March 2025

North West End UK Rating: