In the year George Orwell’s political fable, Animal Farm, marks its 80th anniversary, Leeds Playhouse Deputy Artistic Director Amy Leach introduces a fresh interpretation to the stage that explores loss of identity, the seductive allure of greed, and the corrupting nature of political power. Adapted by Tatty Hennessy, this exciting and thought-provoking story of treachery and rebellion provides a timely reminder of the true meanings of equality.
Presented by Stratford East and Leeds Playhouse in association with Nottingham Playhouse.
Animal Farm plays at Stratford East from 7 February – 8 March before commencing on a tour to Leeds Playhouse from 12 – 29 March, and Nottingham Playhouse from 2 – 12 April.
Ahead of the tour, we caught up with Robin Morrissey who plays Snowball in the production to learn more.
What can you tell me about this production of Animal Farm and where the role of Snowball fits into the production?
This is Animal Farm totally unlike any that’s been seen before. Tatty Hennessy has written a thrilling, modern, visceral play which drags the story into the 21st Century. We really couldn’t be further from Stalin and Russia. While the essential plot points are the same – she has made these famous characters so relatable and recognisable today. I’ve always loved Animal Farm, but it was 1984 that shook me to the core growing up, as it felt like it could happen to me and the people I knew. As far as I’m concerned, Tatty has miraculously moved Animal Farm out of the metaphor, and into the here and now. It’s both terrifying and electric.
This is Animal Farm totally unlike any that’s been seen before. Tatty Hennessy has written a thrilling, modern, visceral play which drags the story into the 21st Century. We really couldn’t be further from Stalin and Russia. While the essential plot points are the same – she has made these famous characters so relatable and recognisable today. I’ve always loved Animal Farm, but it was 1984 that shook me to the core growing up, as it felt like it could happen to me and the people I knew. As far as I’m concerned, Tatty has miraculously moved Animal Farm out of the metaphor, and into the here and now. It’s both terrifying and electric.
Snowball is the idealist of the production. The true revolutionary spirit and the one looking into the future. He’s never settled, even when the Farm is taken he is immediately looking at how to improve it. A socialist through and through, his ambition for the Farm and the animals, and his stubbornness in achieving this becomes one of the main points of disagreement at the centre of the play.
What first attracted you to this production and the role?
A huge draw for me was working with the director Amy Leach. I’ve been aware of the brilliant work she’s been doing at Leeds Playhouse for some time and I’ve been desperate to get involved. Fortunately, we found a show that fit. As soon as I got an email about the show and the part, it became a question of how can I be a part of this.
A huge draw for me was working with the director Amy Leach. I’ve been aware of the brilliant work she’s been doing at Leeds Playhouse for some time and I’ve been desperate to get involved. Fortunately, we found a show that fit. As soon as I got an email about the show and the part, it became a question of how can I be a part of this.
Snowball is just a gift of a role, a leader with ambition, eloquence, wit, empathy, and pride. Sometimes I feel like I’m playing Henry V or another Shakespeare character. He’s just so fully rounded and I keep on finding myself wishing his story could continue after the play (no spoilers!)
When you're in the audition process or even once you've been cast do you go back to George Orwell's novel for any inspiration or research?
Funnily enough, it was just yesterday that I re-read Animal Farm on a train down to London after week 3 of rehearsals. I’d come across it at school and had a sort of dull memory of events but didn’t touch it before the audition or since. There was something so gripping about Tatty’s version, I really felt like I didn’t want to muddy the waters. That might sound slightly strange not wanting to go back to the source material, but our obligation as actors is to the writer of the play, and she (Tatty), has done all that work for us. I’ve made the mistake in the past when doing a play about Proust of spending a lot of time with the source material, and all I can say is that it's much more difficult to try and act a book than it is a play. That being said, what a book!
Funnily enough, it was just yesterday that I re-read Animal Farm on a train down to London after week 3 of rehearsals. I’d come across it at school and had a sort of dull memory of events but didn’t touch it before the audition or since. There was something so gripping about Tatty’s version, I really felt like I didn’t want to muddy the waters. That might sound slightly strange not wanting to go back to the source material, but our obligation as actors is to the writer of the play, and she (Tatty), has done all that work for us. I’ve made the mistake in the past when doing a play about Proust of spending a lot of time with the source material, and all I can say is that it's much more difficult to try and act a book than it is a play. That being said, what a book!
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Robin Morrissey (Snowball) and Gabriel Paul (Boxer) in rehearsals for Animal Farm. Photo by Steffi Njoya |
What is your creative process when you’re playing an animal?
Well, this is the first time I’ve played an animal, so I’m discovering that process myself! I suppose, without it hopefully sounding like a cop-out, it is honestly the same as approaching any other part. What’s his motivation? What does he want? What’s stopping him getting that? All those questions we ask ourselves as actors to find out who these characters are. The thing I will add though, is that although physicality has always been a big part of performance for me, this is probably the most I’ve gone into that side of things - weight distribution, breath, speed of movement, and I’m really enjoying that. The show is physical, the part is physical, and I’m really getting a lot from embodying that part of it.
What is the biggest challenge you faced when putting your own stamp on a role that has been played numerous times previously?
I always see it as a great opportunity to play a part that is well-known. There is no way of doing it carrying the baggage of any previous incarnations, or trying to meet any expectations for a character. It’s sort of a release of sorts the bigger, or the more well-known a role is, because the only way to do it justice is to play your own version of it, follow your own instincts and make it your own.
I always see it as a great opportunity to play a part that is well-known. There is no way of doing it carrying the baggage of any previous incarnations, or trying to meet any expectations for a character. It’s sort of a release of sorts the bigger, or the more well-known a role is, because the only way to do it justice is to play your own version of it, follow your own instincts and make it your own.
How do you analyse Snowball's role within the context of the play?
I see Snowball as a bit of a missed opportunity. That’s not to say all would be well and good if events had panned out differently, or that he would be the perfect leader himself, but I find it hard to think things would have gone quite as bad as they do. It seems to me that he becomes a bit of a pivot in the play, in terms of the trajectory the Farm and the animals are on before, and after him. He hears Majors dream, as they all do, but he hears it differently to the others. I keep on thinking about the red pill and the blue pill from the Matrix; it's like Snowball has been woken up, and now it is his life’s work to wake up those around him.
The novel celebrates its 80th anniversary this year, what do you think the show says to an audience in 2025?
I think, and more importantly I hope, it will remind an audience of how timeless this story is. How vigilante society needs to be to stop a steady slide into autocracy. How cunning those that grab power can be. I really hope it also shows the joy and the potential of working together for something worth fighting for. It’s an allegorical warning really at the heart of the novel, I think this show how the potential to take the allegorical part of that away, and put a mirror up to the audience of today.
I think, and more importantly I hope, it will remind an audience of how timeless this story is. How vigilante society needs to be to stop a steady slide into autocracy. How cunning those that grab power can be. I really hope it also shows the joy and the potential of working together for something worth fighting for. It’s an allegorical warning really at the heart of the novel, I think this show how the potential to take the allegorical part of that away, and put a mirror up to the audience of today.
How do you physically and mentally prepare yourself for a run in a production?
With lots of dancing and stretching, and for this show by probably putting on knee pads! Traditionally I like to get myself into as relaxed a place I can be, and also keep reminding myself that we’re never the finished article. I see that as the death of a show, or any art really, when it feels finished, so most of my energy is going towards keeping the discoveries alive and daring to be surprised by them, even with the live audience. The great thing about this specific show is that all the characters go on such journeys, it’s hopefully just a case of starting at the start, and letting the story take you with it.
With lots of dancing and stretching, and for this show by probably putting on knee pads! Traditionally I like to get myself into as relaxed a place I can be, and also keep reminding myself that we’re never the finished article. I see that as the death of a show, or any art really, when it feels finished, so most of my energy is going towards keeping the discoveries alive and daring to be surprised by them, even with the live audience. The great thing about this specific show is that all the characters go on such journeys, it’s hopefully just a case of starting at the start, and letting the story take you with it.
If you were to be an animal yourself, which animal would you be and why?
A golden eagle because ... I quite like being able to see the big picture. Perhaps golden eagle is a bit grandiose, but a bird of some kind.
A golden eagle because ... I quite like being able to see the big picture. Perhaps golden eagle is a bit grandiose, but a bird of some kind.
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Tachia Newall (Napoleon) and Robin Morrissey (Snowball) in rehearsals for Animal Farm. Photo by Steffi Njoya |
Where did your performing career begin?
Playing Wishie Washy at the age of 12 while my twin sister, who had dragged me along, played Washy Dishy in a local pantomime. A brutally, terrifying experience that made me want to keep going back for more.
How do you reflect on your career to date?
A great question. Honestly, I do less and less reflecting now. I spent a lot of time reflecting those first few years after I graduated thinking about what I was doing, am I where I want to be, has it been what I’d hoped for, was I good in that thing etc. It really didn’t do me any favours mentally, and I’m much stricter with myself now in terms of looking forward not backwards. I’ve had some wonderful experiences, been involved in some incredible projects, and think I’ve done some good acting sometimes along the way, but the only thing I’m really reflecting on in terms of my career at this moment in time, is the last run we did of a scene in the room, and what felt right and what didn’t. I try not to go much further back than that any more.
A great question. Honestly, I do less and less reflecting now. I spent a lot of time reflecting those first few years after I graduated thinking about what I was doing, am I where I want to be, has it been what I’d hoped for, was I good in that thing etc. It really didn’t do me any favours mentally, and I’m much stricter with myself now in terms of looking forward not backwards. I’ve had some wonderful experiences, been involved in some incredible projects, and think I’ve done some good acting sometimes along the way, but the only thing I’m really reflecting on in terms of my career at this moment in time, is the last run we did of a scene in the room, and what felt right and what didn’t. I try not to go much further back than that any more.
If you could invite any of the characters you've played previously to watch, who would they be?
Another great question. Never been asked or even thought about this before. I’m going to say a character called Ben Ballard. It was in a play called Sex and the Three Day Week by Stephen Sharkey at the Liverpool Playhouse. It was a ridiculous part – a university student trying to understand women by reading The Female Eunuch, while also trying to lose his virginity. Very silly, but the character was very intense about his opinions. I’d like to hear what he made of it – mostly cause I think I’ll need a laugh after coming off stage.
Another great question. Never been asked or even thought about this before. I’m going to say a character called Ben Ballard. It was in a play called Sex and the Three Day Week by Stephen Sharkey at the Liverpool Playhouse. It was a ridiculous part – a university student trying to understand women by reading The Female Eunuch, while also trying to lose his virginity. Very silly, but the character was very intense about his opinions. I’d like to hear what he made of it – mostly cause I think I’ll need a laugh after coming off stage.
What was the first piece of theatre you saw that you remember having a big impact on you?
I saw His Dark Materials at the National when I was a teenager and had a poster of it in my room for years afterwards. It felt so massive and magical. When I think about it now as a professional actor it’s no surprise it hit me the way it did. It had everything I love about theatre and is exactly the type of show I love being involved in; a big company, lots of movement, music, storytelling, with a little bit of magic.
I saw His Dark Materials at the National when I was a teenager and had a poster of it in my room for years afterwards. It felt so massive and magical. When I think about it now as a professional actor it’s no surprise it hit me the way it did. It had everything I love about theatre and is exactly the type of show I love being involved in; a big company, lots of movement, music, storytelling, with a little bit of magic.
What gives you inspiration?
Other actors. I love watching them work. Especially older actors who aren’t famous, and who still have that fire burning in them fiercer than a recent graduate. I find it properly humbling and inspiring. I’ve been lucky enough to work with a number of actors like that, and I hope to be one of them.
Other actors. I love watching them work. Especially older actors who aren’t famous, and who still have that fire burning in them fiercer than a recent graduate. I find it properly humbling and inspiring. I’ve been lucky enough to work with a number of actors like that, and I hope to be one of them.
What would you hope someone takes away from seeing this production of Animal Farm?
I hope they’ve had a great night at the theatre first and foremost. Someone said the other day, they want the audience to be angry, and I want that too, but I also want them to be left thinking, ruminating, discussing moments. I'd love the show to leave a little itch of a thought that they find themselves going back to over and over again.
I hope they’ve had a great night at the theatre first and foremost. Someone said the other day, they want the audience to be angry, and I want that too, but I also want them to be left thinking, ruminating, discussing moments. I'd love the show to leave a little itch of a thought that they find themselves going back to over and over again.
Animal Farm plays at Stratford East from 7 February – 8 March before commencing on a tour to Leeds Playhouse from 12 – 29 March, and Nottingham Playhouse from 2 – 12 April.
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Robin Morrissey (Snowball), Shakeel Kimotho (Mollie) and Tom Simper (Squealer) in rehearsals for Animal Farm. Photo by Steffi Njoya |
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