Animal Farm, Snouts in the Trough, Stratford East

Last Updated on February 15, 2026

Dystopian Drama Retains Power to Disturb

Animal Farm needs little introduction; Orwell’s parable about the Russian Revolution and Stalinism through the medium of farmyard characters. I’d not read the 1945 book since my GCSEs when it was firmly a modern classic. The story feels as part of the collective consciousness as The Three Little Pigs. Yet from the harrowing first moments, Stratford East’s co-production with Leeds Playhouse, in association with Nottingham Playhouse, genuinely felt revolutionary.  

The production, violent, resonant, but at times funny, was immediately exciting enough to engage school groups and broader audiences. Tatty Hennessy’s (writer, A Hundred Words for Snow) adaptation, created with the National Youth Theatre, guides the familiar rebellion into dictatorship narrative through themes that still resonate today. The realities of factory farming, battery chickens, abattoirs, social inequality, and inhumane working conditions were all highlighted. Director Amy Leach says Animal Farm examines “how people are born into circumstances they have no choice over – it could be a body, a place in the world, or a political regime – and how these circumstances have a huge impact on whether someone has the opportunity to thrive or not.”

The ensemble cast (including several EastEnders alumni) mimicking their respective animals, without obvious masks needed, were all wonderful. Their collective power was even greater. The animals’ group entrance sequence, as physical as ballet, was imposing, even a bit frightening. Huffing and grunting throughout, they toiled on the farm or manifested verbal tics. In the same way as Robbie Williams’ biopic, Better Man, featured a chimp quickly accepted by viewers as human, belief could be suspended almost immediately that these actors were farm animals, rather than humans. There were so many excellent characterisations, I don’t have enough space to praise everyone in the detail I’d like.

Highlights of Animal Farm included Brydie Service (Theatre credit – The Secret Garden) as Clara, the permanently broody chicken, quick to see through the pigs’ new order.

Master of political gaslighting, Tom Simper (Theatre Credit – As You Like It, RSC) as sinister Squealer the pig, who with vicious manipulation, shamelessly spins selling hen’s eggs to humans as an opportunity. Seeing the wall of cardboard egg crates, stacked in the farmhouse, under a red light, was beastly business.

Comic interludes came from Em Prendergast (BBC credits – Doctors, EastEnders) as Milo, a baseball-capped, cheeky beaky black crow on a scooter. Milo’s sardonic third-party observer status brought panto-lightness and reliable laughs to the dystopian backdrop. 

Gabriel Paul (TV credit – Coronation Street) endeared as strongman (well, strong horse) Boxer’s misplaced faith in the animals’ fated windmill building project, and his inevitable demise.

Tachia Newall (TV credit – Doctor Who) as Napoleon, had a fine powerful voice, characterising an – at times – naïve character, eventually relishing his position as autocratic leader. By that point, the humans he bargains with were carrying cattle prods as much for their own protection, as control. The democratically designed animal manifesto had all but been torn up and replaced with the tome “Some animals are more equal than others”. There was a sense the farmers (or should I say Starmers?) were reluctantly shaking hands with Napoleon’s Trump. 

The set, designed by Hayley Grindle (Princess Essex, Shakespeare’s Globe), is no pastoral idyll. Farmer Jones’ dark house, transparent with vast windows, standing, imposingly on stilts above the main stage. Fluorescent lights flickered menacingly as Jones cracked the whip to thumping dance beats (sound by Khalil Madovi), the stage set not unlike a warehouse nightclub. The occasional clipped diction voiceovers, in the manner of vintage newsreels, “It’s a fine day here on Animal Farm,” were immediately ironic. Music also had soft gentle instrumental tender moments, such as an exchange between Clara and Clover the horse, sympathetically played by Tianah Hodding (TV credit – Cbeebies presenter, film credit – Warhol). 

Costumes (also by Grindley) mostly represented work clothing. David Nellist (Theatre credit – I, Daniel Blake), as world-weary Geordie donkey, Benjamin, wore an actual donkey jacket. Shakeel Kimotho (Theatre credit – Cats) as the vain prize pony, Mollie, had smart riding gear with jodhpurs. Clara, blue nursing scrubs.  

For a story about inequality, this production aims to be as inclusive as possible for cast and audience alike. Director Amy Leach has built a reputation, over the last seven years, for making access an essential creative layer rather than an afterthought. Some cast members have mobility or hearing impairment; BSL performances will be by a fully rehearsed actor interpreter in costume. Everal A Walsh (TV credit – The Crown), who played Old Major in the show’s earliest scenes, live audio describes the rest of the show in character. Visually impaired audiences will be told Old Major’s interpretation of the proceedings. 

I could go on, every aspect of this production of Animal Farm, from acting, sets, costumes, lights, sound etc etc was excellent. It’s a shame it’s only on at Stratford East for three more weeks, but the show will move on to Leeds and Nottingham Playhouses in the rest of March and April. Animal Farm is intelligent and packs an emotional punch from beginning to end. A stampede for tickets is in order!

 

Animal Farm runs until 8 March. Tickets are available here 
Stratford East 
Gerry Raffles Square
London E15 1BN 

Looking for something different? We also recommend MJ the Musical, currently showing in the West End or check here for more Off West-End Theatre