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"An erotic word ballet that finds beauty in the well-chiseled male form through highly stylized acts of choreographed violence...What any of it has to do with Burgess' classic dystopian novel is anyone's guess...The charismatic Davies admirably throws himself into the physically and emotionally demanding role...But...the production limply trudges through its overwhelmed emotional dramatics...Having a unique vision is great, but not when it's done at the expense of the text." Full Review
"For those not familiar with the book or film, this production will often prove incomprehensible...It relates the story in broad, abstract strokes, relying so much on stylized choreographed movement that it often resembles modern dance. The result is that the brutal violence...doesn't have much visceral impact...The sheer energy of the performers as they go through their strenuous paces must be admired." Full Review
"Blame it on director Spencer-Jones, who uses Burgess’s Nabokovian fable about free will and state control as an excuse to have cute guys whip off their tank tops and dance-fight. If you already know the story you’re in for a long 90 minutes of cartoon mugging and cheesy, choreographed rapes and rumbles…Fewer BDSM clichés and better acting in supporting roles would have made the show feel less like a camped-up ethics lecture and more like the journey of a soul." Full Review
"For those who do not hanker for Chippendales studs doing dance-rapes—quick, can we have a moratorium on dance-rapes?—this 'Orange' is rancid and confused, another sad example of an adaptation missing the point of its source material...Spencer-Jones' attempt at a super-dark, sexy-wexy production is about as frightening as an Abercrombie & Fitch ad, with a similar quantity of hard posing...Look away, or risk being turned off of theater forever." Full Review
"For 90 fast-paced minutes, this sexy, heart-pounding production never fails to entertain...With nine actors playing three dozen characters, Spencer-Jones directs the play with just enough detail to capture the story's big ideas. Provocative as those ideas are, however, the story often takes a back seat to other elements of the production, such as the chiseled, bare-chested actors...The highly stylized choreography tamps down the viciousness. But that's not a bad thing." Full Review
"Davies gives a muscular, menacing performance as rounded as his biceps...We know this is 'A Clockwork Orange,' by the way, because there is a big bowl of big oranges on a platform upstage...After about eighty-five of the not-so-brisk minutes, Mr. Davies yells out 'I’ve had enough!' So have we all, dear sloosy-creechy-grompky boy, so have we all." Full Review
"Vigorously acted and bluntly entertaining...I’d like to think that the steroidal bodies and all-purpose sexiness are intended as a deliberate distraction, a gotcha embellishment meant to implicate the audience for failing to reckon with the full horror of Alex’s actions. But Ms. Spencer-Jones doesn’t deliver on such high-minded intentions. The violence never lets up, but as it’s set to synth-heavy Beethoven riffs, it also never lands." Full Review
"Less a conventional stage play than a high-voltage homoerotic dance drama...Never less than watchable, thanks to some thrilling choreography and to its graceful, hunky nine-member cast...The author’s sly morality tale is still there for the diligent theatergoer, the story of ultraviolent Alex, a menace to society, who becomes menaced by society...To his credit, Burgess offers no pat answers, and lets no one off the hook, not even himself." Full Review
"Amounts to a ninety-minute howl of rage; meant to electrify, more often it induces fatigue...The characters are purposely two-dimensional, performed on the far edge of caricature...As in the film, all of Spencer-Jones' diligent -- and often effective -- work obscures the fact that Burgess was concerned with matters philosophical...One can admire the skill and commitment of all involved while simultaneously wishing that they would stop so furiously pressing their case." Full Review
“Spencer-Jones's work is highly choreographic, with every movement…precisely timed, like the mechanism after which the play is named...Well-done as the choreographic movement is...we get caught up more in its technical than emotional or painful aspects, a problem dominating the entire ramped-up production…The high-pressure theatrics make it difficult to accept anything as real, much less erotic...The presentation favors form over substance, i.e., it could use more orange and less clockwork.” Full Review
"A thrillingly respectful amalgam of Burgess’ hurtle into an acidic culture...Spencer-Jones' immaculate treatment of the material results in a 90-minute, intermissionless dive, one featuring precise, exaggerated behaviors and closely drilled movements...There is much to be said for the performers cast for this production and it’s not just that they’re triple-threat actor-singer-dancers; as an ensemble, they’re off the charts." Full Review
"What is happening at New World Stages in 'A Clockwork Orange' has me scratching my head...The men of the cast are chiseled, buff, and beautiful on the outside. But on the inside, they are warped, sadistic, and their vicious foreplay borders on homoerotic...Davies as Alex is hauntingly brilliant...This 'A Clockwork Orange' glorifies criminal behavior, making it sexy. Suddenly the world feels not so safe and this show seems way too long." Full Review
"The production is like a dad bod. Stylish, sure. Intimidating, not so much. And it should be....At its best, Alexandra Spencer-Jones’ all-male vision has energy to burn as it plays out on a spare black stage to a loud, nearly wall-to-wall score of original music and pop covers. But so much emphasis on choreographed movement backfires as it gets repetitive and muddies storytelling. Even violent acts, like one with a broken bottle, emerge like something out of Looney Tunes." Full Review
“Alexandra Spencer-Jones’s staging slices deeply into the human psyche…Ms. Spencer-Jones’s creation is an accurate telling of the novel energized by the athletic dance movement and athleticism of the ensemble cast…Under her precise and inventive direction, the ensemble cast of ‘misfits’ and ‘miscreants’ deliver uniformly authentic performances…A theatre piece that scrapes away at the stolid underbelly of American morality with surgical precision and a merciless zeal to heal.” Full Review
"Has the slickness and the eroticism that generally helps fill the seats, but oddly feels a bit more shallow and a tad less emotionally connecting. There is definitely a strong precise vision of how to tell this complicated and violent story through the impressive and athletic choreography and stagecraft, and that aspect works majestically...The production is loud and exciting, glossy and sharp, sure to attract the crowds it deserves...This play leaves you titillated but emotionally disengaged." Full Review
"Intense and erotic...Marvelously choreographed...It all happens in race-against-the-clock speed, packing the story into 90 minutes on an intimate stage with an ensemble of excellent actors playing multiple characters...Not only is the cast made up of excellent actors, but their physical bodies are ripped and cut unbelievably...Truly, the beatings and rapes, though choreographed, are still extremely graphic and disturbing." Full Review
"While September is admittedly very early to make predictions about an entire theater season, it’s hard to imagine there will be a more spectacular NY stage debut than the one being given by Davies...But Spencer-Jones rather oversimplifies the philosophical discussions. Indeed, one often feels that style has overtaken substance throughout much of the play’s 90-minute running time, with some sections, striking as they are, skirting a little too close to a pure modern dance performance." Full Review
"While the staging is sometimes visually arresting, the meanings are hard to grasp...Davies is ultra dynamic and carries the production, which is consistently very busy as it races through the tale...There are merely nods to such ideas as expressed in the film version, but they are lost in the onslaught of masculine physicality that is highlighted in this staging. The result is loud and extremely busy without emphasizing what 'A Clockwork Orange' is really all about." Full Review
"Makes a powerful statement, though it falls just short of a knockout...Director Alexandra Spencer-Jones created a language of savagery in this stripped-down, stylized production that's as engrossing as it is disturbing...But after the initial shock of brutality, the rest of the play fails to produce the same heightened impact. And while the message is clear, the work lacks the emotional punch in the gut that Burgess intended." Full Review
"It’s all very loud with primal screaming and distorted grumbling, sometimes difficult to understand the actual words, but easy enough to get the meaning of all the simulations...This is a high-energy production of fine actors. However, if you’re prone to closing your eyes in such circumstances as described, better not even bother attempting to be in the audience. Not for the faint of heart!" Full Review
"An exciting, if not altogether realized, queer take on a classic...The story’s details are too frequently lost in a gyrating and sometimes chaotic churn...The burden of storytelling often proves too much for the actors’ bodies alone...Scenes of violence and delusion are played as erotic ballets, which are beautiful to watch and often just as confusing to interpret...The absence of flesh-and-blood women in a story so much about misogyny and violent male desire robs the play of its teeth." Full Review
"Alexandra Spencer-Jones’s stage production is visceral, energetic, and well choreographed...Songs by Frankie Goes to Hollywood and Beth Ditto form the backdrop of this 90-minute rethinking, which I found a little one-note and wearisome, while still admiring its tenacity." Full Review
"A work that remains as disturbingly relevant today as it was when it first appeared in the sixties, and as grippingly powerful as any of the versions that came before it. Much of that is due to an unceasingly riveting performance by Jonno Davies...The show’s impact can also be credited to Spencer-Jones, who directs the all-male cast of nine in a potent testosterone-driven blend of extremely loud and belligerent mannered speech and highly stylized movement." Full Review
“Davies anchors the piece with maniacal precision and vulnerability...He and his equally sexually charged all-male ensemble deftly move their way through Jones’ physical staging…Davies is best at dialing back but others in the ensemble subscribe to ‘more is more’ with fire and brimstone delivery that occasionally undermines the script. That being said, as a whole, the multicultural cast takes on a slew of characters with deft clarity and physicalization.” Full Review
"A startlingly conceived, brave piece of physical theatre...That nobody is struck in the play does take something away from the implied hideousness of the violence...The disadvantage of a compact cast, no matter how talented, is that the story and characters become confusing...Still, the cast conjure dramatic miracles from thin air...Despite the holes in the text and confusing characterization, there remains something electrifyingly watchable about this production." Full Review
See it if You were a fan of the book or the Kubrick film. Knowing the story will help with the language of the play. A very handsome cast.
Don't see it if You want something exciting & creative. The bar was set high and was let down in a big way. I wanted more but cast did not deliver.
See it if You like inventive staging, and shows that take a story you Know and turn it on Its ear.
Don't see it if You're homophobic, or don't like changing the ending of a story that was as it should be.
See it if You Have very low expectations. This production is definitely much worse than the movie/book.
Don't see it if You liked both the book and the movie. This adaptation is amateurish at best and the acting/dancing is totally forgettable. Just don’t go!
See it if you enjoy stylish visuals. The movements and colors are a pleaser. The show means to challenge and shock, but it is thought-provoking too.
Don't see it if you have a strong aversion towards violent and disturbing content. It is also intensily palyed, and might be unpleasant to some.
See it if You love the movie and would be interested in seeing a very different take.
Don't see it if You're looking for something similar to the original, or stronger writing and directing (as this lacks both).
See it if You like edgy, provocative shows, with adult subject matter. The choreography was astonishing. I’ve never seen a show quite like it.
Don't see it if You’re put off by even implied violence, are easily confused (every actor except the lead plays multiple characters), or want a lighter show
See it if you're curious about how the book or film translates to the stage. Impressive dance/movement, precise, athletic, homoerotic.
Don't see it if you expect the power & incisiveness of either the novel or the film. The emphasis on dance/movement vitiates that.
See it if you want to see a muscle show and enjoy dance/movement. The lead is marvelous.
Don't see it if you don't know the novel or movie. The story gets lost completely, in favor of style and atteactive men.
See it if you like the novel and curious about its staging, enjoy athletic dancing with homoerotic overtones, like bright lighting & loud music
Don't see it if don't like shows like Tap Dogs even with more plot, loud noisy music & dancing, difficult to follow if unfamiliar with source, bright lights
See it if You want to see this story told in a new, inventive way. The music choices and choreography were effective.
Don't see it if You are expecting the intensity of the movie. I found this version less disturbing which may not satisfy fans of the movie.
See it if you know & like the story or if you like shows which use dramatic and unusual ways to communicate the story line.
Don't see it if you do not like the story, if loud music bothers you or if you do not particularly like innovative approaches which may not be successful
See it if you want to see an intense, fast-paced, imaginative, highly stylized, well-choreographed staging of Burgess' groundbreaking dystopian novel.
Don't see it if you'll be disturbed by the violence & harsh language of the British gangs and the disturbing treatment of the protagonist by the authorities
See it if You want to be utterly entranced but have no idea why you are. You don't mind very nuanced dialogue.
Don't see it if You want to see full sets, if you don't like actors playing multiple characters, if you don't want to be put on edge
See it if High concept, very theatrical work appeal to you. Oh yeah, nice looking guys too.
Don't see it if You have can't understand accents or need everything put before you literally. You have no idea of the story or what you are getting into.
See it if If you're a fan it's a different take. It's adult themed the music & choreography were very entertaining. The lead was incredible!
Don't see it if If you're gonna compare it to the film. If you don't like violence! If you don't follow you'll get lost the actors play multiple characters.
See it if You're a fan of loud, violent, in-your-face shows. The performances (especially Jonno Davies) are great, and the music is very fitting.
Don't see it if You don't like depictions of rape and torture. Or mostly naked men. The droog's fictional language can also be very difficult to understand.
See it if you like men with good/great bodies in acrobatic dancing and don't care whether you understand what's being said half the time.
Don't see it if you value the way in which Anthony Burgess used language in the novel or the portrayal of Alex in Kubrick's film version.