A Clockwork Orange, written by Anthony Burgess in 1962 and adapted for film by Stanley Kubrick in 1971, tells the twisted morality tale of Alex, once the leader of a feared London gang, who betrays those close to him and commits an act of violence that leads to imprisonment.

After being incarcerated for two years he volunteers to undertake experiments that will kill off his criminal mindset, only to find the world he is released into is bitter and unforgiving.

Alexandra Spencer-Jones' thought-provoking theatrical adaptation perfectly captures the tone of the original work, although it isn't completely reliant on it either.

The pared down set borrows heavily from designs used in the film, however they're simplified using only the colours black, white and orange, which allows the audience to focus on the characters when they are picked out with an orange object or piece of clothing but then sink back into the collective in seamlessly synchronised choreography.

Each character has their own unique style of movement and mannerisms and those who play more than one role such as Will Stokes - Billy Boy/Governor/Comedian/F-Me Pumps/Dolin/Len, Damien Hasson - Deltoid/Chaplain/Rick and James Smoker - Old Woman/Minister/Dad/Rubenstein flip, fly and pirouette from one very convincing persona to the next.

Jonno Davies reprises his role as Alex, having played the role previously on two international tours. He flexes his body physically but also emotionally, contorting it to convey how the cocksure thug becomes the victim of his own destructive nature.

The soundtrack gives another layer to the performance with fast-paced tracks for the fight scenes that are very heavy on the beat, allowing each punch or kick to feel much more prolonged. Pink Floyd's Comfortably Numb plays in the prison scenes, the lines "Is there anybody there? Just nod if you can hear me", stretching the point of the loneliness and isolation the inmates feel.

Where the performance differs from both book and film is the emphasis on homoeroticism and homophobia. The all-male cast transfer the action from a sexist '60s era of oppression and violence against women to a homophobic/gay scene in which men prey on, manipulate and dominate one another.

The director explains: " The truth is it was written in such a way that it is ever painfully relevant", it's theme of male dominance applies just as easily in a situation where men overwhelm, overpower and denigrate their own sex.

I would recommend this play to anyone who likes theatre to challenge them, and broaden their perspectives as well as thoroughly entertain them. However, if you come to this production expecting to have a remake of the film, you will be very pleasantly surprised, as although this may not have been what you expected, you will be transfixed.

John Anglesey