"Initiative comes to thems that wait."
After success at the Edinburgh festival in 2011 and 2012, this all male version of Anthony Burgess' classic tale of brutality now graces the stage of the Soho Theatre. And the location couldn't be more apt for this sexually charged, homoerotic take on A Clockwork Orange. Burgess' infamous tale concerns a gang of ne’er-do-wells, or 'droogs', led by a young rapscallion called Alex, who has an affection for violence, rape and Beethoven.
After executing a particularly nasty attack on a couple, Alex is jailed and encouraged to partake in a new aversion therapy, 'vidding' (or watching) filmed scenes of rape and violence against his will.
Director Alexandra Spencer-Jones makes a brave decision in casting all male production, and one that might not prove popular amongst female actors considering the dearth of female roles in current west end theatre. The production is, as a result, testosterone charged, boisterous and noisy, yet retains a camp edge, not helped by the inclusion of a soundtrack consisting of the Scissor Sisters, Placebo and The Gossip. The 'droogs' favourite haunt, a milk bar, is turned into your average gay club, with gangs sparing against each other, not in violent stage combat, but synchrinised dance choreography.
Impressive balletic movement sequences successfully demonstrate the chaotic andviolent action, and at times it is difficult to watch. Particularly the opening barbaric rape scene involving a milk bottle.
The talented cast handle the material and constant movement changes well, with a stand out performance coming from Martin McCredie as Alex, in his first professional London theatre role. The charismatic McCredie gives high octane performance as the swaggering, debauched Alex who, despite his revolting behaviour, manages to evoke sympathy during the enforced reform he is subjected to.
The production has been publicised as a reaction to the London riots of 2011 and it isn't difficult to see why. Burgess's text gives us an unsettling portrayal of disaffected youth, perpetrating nonsensical violence, yet seemingly unsure of any clear reason behind their anger. Sadly the production itself, though intelligent, beautifully performed and well acted, doesn't give us any clearer insight into the sexually deviant anger of the droogs.
Removing female actors from the production also eliminates the required analysis of the gang's violence towards women. A topic which could have evoked so much doesn't do enough to address the reasons behind the brutality– is it poverty, lack of education or, perhaps most disturbing, just the need for some attention? 
A Clockwork Orange runs at Soho Theatre until 5th January 2013
Image by Helen Maybank
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