Lord of the Flies

This classic story by William Golding has been a best-seller since
its first publication in1954 and its adoption as a school literary text
has made it a classic. Though originally set in the 50s, when the
threat of a Nuclear War was to the fore, the story really focuses on
human survival, humanity, and the ‘veneer’ that we adopt when society’s
constraints are put on us; in this case the ethos and constraints of
school life where teacher/adults set the rules, rewards and
punishments. Without constraints can we still be ‘civilised’ or do we
regress to animal instinct survival techniques?

In Nigel Williams’ updated adaptation for director Marcus Romer’s
Pilot Theatre production, the messages seem even more powerful and the
talented ensemble present a piece that is dark, exhilarating and so
engaging that at times it had the audience of school groups emoting,
commenting on and criticising the actions of the characters like
‘groundlings’.

The prejudices that ultimately divide the group into Piggy’s them and us
include class, accent, appearance, race and ultimately power. In the
struggle for leadership Davood Ghadami as Ralph and Mark Knightly as
Jack are a well matched pair, whilst Dominic Doughty’s frustrated but
rational Piggy is a delight. The twins provide some light relief in
their unison responses and there is a danger of being drawn into the
word play of the taunting: as adults we are no less vulnerable to group
pressure. However it is Lachlan McCall’s Roger that is the most
chilling of all – the speed at which he embraces the new freedom with a
portrayal that is truly frightening and menacing.

The set is dominated by the wreck of the plane, a hinged tail
section and the skeletal remains of part of the fuselage – it serves
for all locations and works well as our imagination is engaged with
creative lighting effects and a soundtrack, or rather a beautifully
crafted score, ranging from ambient to drum and bass that underlies
many of the scenes, heightening the emotional tension, though at times
making it hard to hear some of the dialogue.

This is a highly charged, frenetic portrayal of the descent of man,
atmospheric, eerie and highly charged with incredible energy levels
from a cast whose movements, mannerisms and vocal inflexions are so
well honed that you forget you are watching adults. This is no Blue Remembered Hills – this is the real deal. Be afraid, be very afraid!

-Dave J