Following the exploits of Alex and his band of droogs as they rape, fight and cause merry chaos to all around them, Alex is finally captured and offered a tantalising prospect, his freedom back though aversion therapy, where any violent instinct will make him violently ill. This essay on the nature of violence delivers powerful political themes such as the right of the state, the justification of violence and the nature of blame, and is one of the most iconic stories and films around. And with good reason as the Anthony Burgess’ story is wonderful.
That’s not to say the same goes for, The EATTHEBABY Production, which tries to do something new, by basing it on Burgess’s original playscript but in doing so rests on their laurels and misses a great opportunity.
The playscript for those who are tantalised by the prospect of a new take on the tale is not radically different from the film, cutting out lots of subtle and important moments in place of moving the plot on as quickly as possible and then overstaying its welcome for a long and drawn out dialogue heavy finale. Not helped by a production that at times can delight with its theatrical style, such as concealed members in the audience who shout and jeer at key scenes, a fascinating chrysalis like transformation scene as Alex is bound in tape by the crew and an imaginative way of getting Alex to fall through a window in slow motion as he is held by the actors, at other times is disappointingly flat. Music plays a huge part in the plot of ‘A Clockwork Orange’ and while it does feature at both the opening and closing moments it remains unused in the narrative, lighting is equally all but forgotten and several scenes are difficult to hear as everyone is shouting over one another.
A curiously ineffective production that is bizarrely forgettable.
2/5 
Martin Miller
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