Author: Bella

• 18 July 2016: Alexander Ballinger for Go West London

From the opening scene, it’s clear this is not a page-for-page adaption of George Orwell’s final novel before his death, as our lead man Winston -played flawlessly by Andrew Gower– finds himself somewhere outside of time, and in some kind of book group discussion on the unforgettable work.

This bouncing around in time (or Winston’s mind) runs throughout the play and is a perfect device to draw parallels between the predicted-reality of 1984 and the modern times.

[…]

Overall the cast were well suited to their roles, but there were two performers who controlled the stage and our attention with blistering intensity: Andrew Gower as Winston and Angus Wright as the enigmatic, charismatic O’Brien.

Gower‘s gormless stumbling about the staged juxtaposed with his profound and deeply philosophical monologues perfectly captured the conflicted but clueless hero of the tale.

(Source: Go West London)

• 29 July 2016: London Theatre Direct

Being Human favourite Andrew Gower takes on the lead role of Winston with perfection, being suitably nervous and intense where appropriate. His character was only slightly relatable, which was a bold artistic decision I think; he could have just as easily made the character someone all of the audience could feel involved with throughout the show, but it felt as though he was one of us and then torn away from us all under one breath which just added to the intensity of the piece.

(Source: London Theatre Direct)

• 31 July 2016: Jack Peat for The London Economic

Andrew Gower, playing Winston Smith, really brings this aspect to life. The scars of oppression are laid barefaced and the mental struggle of dealing with bitter isolation doused with sporadic moments of hope is brilliantly delivered, allowing the audience to experience the nightmarish state and by proxy relate it to society in 2016.

(Source: The London Economic)

• 22 June 2016: Christina Caré for London Theatre

Returning to the Playhouse this June, Robert Icke and Duncan Macmillan’s adaptation of Orwell’s classic novel 1984 continues to enthral audiences. With a flawless cast and ruthless staging, the play offers 101 minutes of extreme, visceral storytelling.

Andrew Gower excels as Winston, despite hardly speaking for the first several scenes; Angus Wright delivers a chillingly composed O’Brien. The cast are flawless in their enactment of an outstanding script. 1984 succeeds in bringing new life to Orwell’s work; I left the Playhouse thoroughly removed from myself.

(Source: London Theatre)

• 28 June 2016: Susan Elkin

Andrew Gower, who plays Winston, has a hint of Michael Sheen about him and gives an outstanding performance. He stumbles about and looks confused and then satisfied as he forms the relationship with Julia (Catrin Stewart – good). In the torture scene – so graphic it makes the blinding in King Lear look like a tea party – bloodied, bowed and terrified Gower is totally, and horrifyingly convincing.

(Source: Susan Elkin)

• 4 July 2016: Anne Cox for Stage Review

Andrew Gower’s Smith tries desperately to hold on to his memories but rebellion almost costs him his sanity and his life.

We first meet him trying to make sense of everything. He looks bewildered, uncomprehending, not sure that he is being told the truth. What is the truth? Big Brother’s version of events or reality?

He thinks that he has found allies – first in a woman, Julia (Catrin Stewart), who claims she loves him and is on his side – and then a man, O’Brien, who says that he works for the opposition.

[…]

Gower has an expressive face – in that he looks permanently baffled at what is happening around him – yet he fails to fully capture the anger and frustration that Smith feels. Instead his voice rises at the end of every sentence as though every statement is a question. Perhaps it is. He questions authority and look where it gets him – Room 101.

Look away now if you’re distressed, of a nervous disposition, or unable to face your worst fears. Room 101 contains your worst nightmares and, for Smith, it is his ultimate trial.

(Source: Stage Review)