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Cast & Crew | Intro from the Author | Articles |
Book | Music | Notes | Pictures |
Reviews
Barbican Theatre
Character | Actor |
Alex | Phil Daniels |
Pete | Francis Mark Johnson |
George | John Hannah |
Dim | Patrick Brennan |
Role | Person(s) |
Composers | Bono & The Edge |
Director | Ron Daniels |
Author | Anthony Burgess |
This version of A Clockwork Orange was presented by the Royal Shakespeare Company in 1990. I am grateful to its director, Ron Daniels, for his invaluable help with the adaptation. - A. B.
A few years ago I published a brief theatrical version of
my novella A Clockwork Orange, with lyrics and suggestions as to music
(Beethoven mostly). This was done not because of a great love of the book but
because, for 28 years, I was receiving requests from amateur pop groups for
permission to present their own versions. These were usually so abysmally bad
that I was forced eventually to pre-empt other perversions with an authoritative
rendering of my own. But the final textual authority, though not the musical
one, rests with this present Royal
Shakespeare Company production. Ron Daniels, who directs it, has helped a great
deal with putting it into a dramatic shape suitable for a large theatre, and I
wish to thank him now for the hard and valuable work he has poured into what was
very far from an easy task.
I think most people know where the title comes from. ‘A
clockwork orange’ is a venerable Cockney expression applied to anything queer,
with ‘queer’ not necessarily carrying any homosexual denotation. Nothing, in
fact, could be queerer than a clockwork orange. When I worked in Malaysia as a
teacher, my pupils, when asked to write an essay on a day out in the jungle,
often referred to their taking a bottle of ‘rang squash’ with them. ‘Orang’
is a common word in Malay, and it means a human being. The Cockney and the Malay
fused in my mind to give an image of human beings, who are juicy and sweet like
oranges, being forced into the condition of mechanical objects.
This is what happens to my young thug Alex, whose sweet and
juicy criminality, which he thoroughly enjoys, is expunged by a course of
conditioning in which he loses the free will which enables him to be a thug –
but also, if he wishes, a decent adolescent with a strong musical talent. He has
committed evil, but the real evil lies in the process which has burnt out the
evil. He is forced to watch films of violence while a drug that induces nausea
courses through his veins. But these films are accompanied by
emotion-heightening music, and he is conditioned into feeling nausea when
hearing Mozart or Beethoven as well as when contemplating violence. Music, which
should be a neutral paradise, is turned into a hell.
What looks like a celebration of violence – far worse on
the stage than in the book or the film that Stanley Kubrick made (now
inexplicably banned in Britain) – is really an enquiry into the nature of free
will. This is a theological drama. When human beings are made incapable of
performing acts of evil they are also made incapable of performing acts of
goodness. For both depend on what St. Augustine called liberum arbitrium –
free will. Whether we like it or not, the power of moral choice is what makes us
human. For moral choice to exist, there have to be opposed objects of choice. In
other words, there has to be evil. But there has to be good as well. And there
has to be an area where moral choice doesn’t really apply – that neutral
zone where we drink wine, make love, listen to music. But that neutral zone can
all too easily become a moral zone. We spend our lives, or ought to, making
moral choices.
Ever since I published A Clockwork Orange in 1962, I
have been plagued by the fact it has really been two nooks - one American, the
other for the rest of the world. Thus, the British edition has twenty-one
chapters while the American edition, till very recently, had only twenty. My
American publisher did not like my ending: he said it was too British and too
bland. This meant he saw something implausible - or perhaps merely unsaleable -
in my notion that most intelligent adolescents given to senseless violence and
vandalism get over it when they sniff the onset of maturity. For youth has an
energy, but rarely knows what to do with it. Youth has not been taught - and is
being taught less and less - to put that energy to the service of creation
(write a poem, build Salisbury Cathedral out of matchsticks, learn computer
engineering). In consequence, youth can use that energy only to beat up, put the
boot in, slash, rape, destroy. Our card-operated telephone kiosks are a monument
to the youth's worst instincts. At the end of this play you are to watch young
Alex growing up, falling in love, contemplating eventual fatherhood - in other
ways, becoming a man. Violence, he sees, is kid's stuff. My American publisher
did not like this ending. Stanley Kubrick, which when he made his film out of
the American edition, naturally did not know that it existed. That is why the
film puzzled European readers of the book. You must make up your own minds as to
which ending you prefer. You can always leave before the end.
One final point. In 1990, which we wrongly think is the start
of a new decade, we look forward to a bright European future. The Berlin Wall is
coming down, Mikhail Gorbachev is preaching perestroika (a word which young Alex
is bound to know, since a great deal of his vocabulary is Russian), the Channel
Tunnel is burrowing its way to the continent. We are, politically at least,
becoming optimistic. Ron Daniels and his talented actors and musicians, as well
as myself, are gently suggesting that politics is not everything. That, in a
way, was the whole point of the book. Young Alex and his friends speak a mixture
of the two major political languages of the world – Anglo-American and Russian
– and this is meant to be ironical, for their activities are totally outside
the world of politics. The problems of our age relate not to economic or
political organization but to what used to be called ‘the old Adam’.
Original sin, if you wish. Acquisitiveness. Greed. Selfishness. Above all,
aggression for its own sake. What is the purpose of terrorism? The answer is
terrorism. Alex is a good, or bad, juvenile specimen of eternal man. That is why
he is always calling you his brothers.
I have no doubt that, with this new dramatic version of my
little book, I shall be blamed for promoting fresh violence in the young. A man
who killed his uncle blamed it on Shakespeare’s Hamlet. A boy who gouged out
his brother’s eye blamed it on a school edition of King Lear. Literary artists
are always being treated as if they invented evil, but their true task, one of
many, is to show that it existed long before they handled their first pen or
word processor. If a writer doesn’t tell the truth he’d better not write.
This is the truth you’re watching. Anthony Burgess
Sight and Sound Spring 1990
The stage version, publicized as a musical and clearly a bid to repeat
the RSC's money-spinning international success with Les Miserables, is called A
Clockwork Orange 2004. The title deliberately evokes and invokes 2001 A Space
Odyssey, and the permanent part of Richard Hudson's set resembles the inside of a
red gasometer. But the music by two members of the Irish group U2 (The Edge and
Bono), is so much unmemorable percussive rock, and the choreography by Arlene
Phillips (creator of the Hot Gossip group) is commonplace disco-dancing. By
contrast, Kubrick's movie now looks and sounds like a real musical, with its
brilliant use of Beethoven, Rossini, Elgar and 'Singin` in the Rain'. The stage
fights are clumsy affairs, lacking in grace and unconvincing as most theatrical
violence is. The fights in the movie are both balletic and frightening. We are
involved and repelled because the camera presents us with Alex's point of view,
while the stylization distances us from the events.
The casting of the supporting stage roles is designed to
utilize actors
and actresses from the RSC's current London productions of Hamlet (in the main
Barbican Theatre) and Romeo and Juliet (in the small subterranean auditorium,
The Pit). The obvious casting would have been to have Mark Rylance, the RSC's
Hamlet and Romeo, play Tony in a revival of West Side Story. Instead, Phil
Daniels, joined the company as Alex. Daniels brings to the stage a loveable,
cockney-sparrow persona he has developed on stage in Class Enemy, and in movies
such as The Class of Miss MacMichael, Quadrophenia and Scum. He's an Artful
Dodger, winsome, winning, sly, but not evil. He is a creation of his
environment.
McDowell brought to Kubrick's film an aristocratic, fallen angel
quality. He exhibits the same kind of insolent contempt for authority he showed
as the anarchic public-schoolboy in Lindsay Anderson's if..., the movie that
had made his reputation three years before. McDowell commands the film, but
Daniels fails to dominate the play. The stage-Alex is surrounded by crude
caricatures, the screen-Alex moves among skillfully defined Jonsonian humor.
Kubrick has shown an acute feeling for British types and employed several actors
in a diversity of roles. His Donald McGill-style warder in A Clockwork Orange,
Michael Bates, created the role of Inspector Truscott in Joe Orton's Loot, a
part Leonard Rossiter (a prominent figure in 2001 and Barry Lyndon) was
appearing in at the time of his death four years ago.
In adapting his own novel, Burgess, has retained Alex's direct address
to the audience, which leaves the book incompletely dramatized. And he has
included scenes and incidents Kubrick dropped from his tightly plotted film. The
authorship, for example, of a book called A Clockwork Orange is attributed to
the writer, F. Alexander, and the title explained. Alex's second killing, the
group murder of an obstreperous convict, is graphically staged, though only to
point up the grim confinement of prison life. The central moral is constantly
reiterated and underlined.
The main restoration, however, is of the final chapter, which Kubrick
was apparently unaware of until his script was nearly completed. 'I never gave
any consideration to using it,' he later told Michel Ciment. In Burgess' coda,
Alex, meets his old droog Pete, now married and settled down. The encounter
encourages Alex, still only 18, to speculate on his own future. He envisages a
happy suburban life, a contented wife ironing his clothes and preparing his
meals in the living room, a little baby boy gurgling in the bedroom. On stage
there is no ironic undertone. We are asked to accept this absolutely seriously.
A deep sentimentality negates much of what has gone before. The only way Kubrick
could have handled it would have been as grim comedy, comparable with the
fantasies Alex has of whipping Christ like a Roman soldier in a parody version
of a Hollywood biblical film.
Nothing dates quite so rapidly as our ideas of what the future might be
like. But the astonishing thing about both 2001, A Space Odyssey and A Clockwork
Orange is the power they still exert. The haircuts, the thick sideburns, the LP
records, the absence of computer screens fix the movie in the early 1970's, but
they do not tame it. The end of the Burgess-Daniels stage version takes the play
back to the British cinema of the era in which the novel originally appeared.
Room at the Top, Saturday Night and Sunday Morning and A Kind of Loving all end
in exactly that resigned way of settling for a muted life of small, compromised
happiness. That Alex might become a state-employed thug, a wife-beater and
child-abuser, is not the sort of notion producers of potentially money-spinning
shows wish audiences to take with them out into the night.
In 1990 the 1987 Play with Music scriptbook was re-released as ACO 2004 to tie-in with the play.
From the Back Cover
Twenty-five years on, A Clockwork Orange has become the here and now - a stark, powerfully reflective vision of our society as seen by one of our most apocalyptic writers.
'Whoever heard of a clockwork orange?' asks the author, who scripted this version with music for the Royal Shakespeare Company. 'The attempt to impose upon man, a creature of growth capable of sweetness...laws and conditions appropriate only to a mechanical creation - against this I raise my sword pen.'
Creating mayhem and terror as they go, muttering their strange and disturbing language, Alex and the droogs smash their way into our consciousness and into the iconography of our time.
'His range is immense. His fertility seems inexhaustible. Taking output and quality together, he is our major writer' Sunday Telegraph
A sampling of the unthinkable.
ACO 2004 Play
The Nadsat Song
DROOGS:
What's it going to be then, eh?
What's it going to be then, eh?
Tolchocking, drasting and kicks in the yarblockos,
Thumps on the gulliver, fists in the plott.
Gromky great shooms to the bratchified millicent,
Viddy and krovvy pour out of his rot.
Ptitsas and cheenas and starry babushkas
- A crack in the kishkas real horrorshow hott.
Give it them whether they want it or not.
What's it going to be then, eh?
Deng in our carmans so no need for crasting
And making the gollybird cough up its guts.
Tolchocks and twenty-to-one in an alleyway,
Rookers for fisting and britvas for cuts.
What's it going to be then, eh?
As one door closes another one shuts.
Govoreet horrorshow, but me no buts.
BBC Radio Play
Deltoid and Alex trading lines:
What gets into you all?
What gets into us all?
Theologial evil?
Theologial evil? Phhht
The devil stalking the street?
The devil stalking the street?
The weevil? In the flower of life?
The weevil? In the flower of life?
I repeat.
Don't Repeat.
What gets into you all?
Based on Burgess' 1987 book ACO: A Play with Music.
Premiered at the Barbican Theatre January 26, 1990
Moved to the Royalty Theater April 23.
Royalty
Theatre Flyer - front, artwork
Royalty Theatre Flyer - flap, Phil as Alex
Royalty Theatre Flyer - back, ticket info
It was a cold February night in 1990 and as a
fifteen year old obsessed with Quadrophenia and all things mod I was extremely
excited to be able to see Phil Daniels play the lead role of Alex in the RSC
production of ACO 2004. Before the show I had no knowledge of ACO at all except
knowing that it was a notorious film and, judging by the pictures I had seen of
the movie, looked very strange indeed! (Note: The film was banned at the time -
Alex)
The only reason I was there at the time was to see (and
hopefully meet) Mr. Daniels and my memory of much of the evening is pretty
misty. I went with my mom and best friend at the time and was delighted to have a
front row seat and waited excitingly anticipating what I was about to see.
It was an excellent evening and I was soon hooked by the
story and the superb performances from the whole cast as well as the dazzling
stage set. I do remember Phil Daniels was excellent as a cheeky and cockney
Alex, brilliantly picked for the part and giving a mesmerizing performance that
looked both engaging and exhausting!
The choreography was also wonderful with some brilliantly
staged ultra-violence. My one strong memory of the evening was in the scene with
the catlady where Alex had to jump onto a table and kick the cats around the
house....not real ones, but fluffy toys. One of them went flying through an open
window in the back of the set, something I think certainly didn't happen every
night, and was met with a huge applause!
I now know a lot more about ACO and can look back and say it
was a wonderful, underrated and faithful adaptation of the greatest novel ever
written and complete with that much talked about final chapter. After the show I was fortunate enough to meet Phil Daniels
and speak to him about his career. My mom called him over to us as I was just a
shy teenager but he was very friendly and signed my program. - John B.
I actually saw the RSC production at The Barbican. Remember that, at this
time, the film still had a large element of forbidden fruit (so to speak) to it
because of Kubrick's withdrawal of the film so to see a stage version was the next best
thing.
It wasn't a particularly successful adaptation but it had a kinetic energy to
it provided by a mesmerizing performance by Phil Daniels and a dynamic score by
The Edge. The Edge's echoing guitar similarly cut through the action to give a
real sense of violence.
Annoyingly the audience seemed to be made up of the usual spoiled,
cooler-than-thou London crowd; at one point the persistent coughing got so bad
that one of the actors had to come to the front of the stage and tell the
audience to shut up. - Mike P
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