Brave New World


Find out what the critics think about Brave New World. We've rounded-up National, Online and Regional reviews to date. We'll be updating this as the tour progresses so be sure to check back.

To read other coverage relating to Brave New World - including press interviews with Sophie Ward, director James Dacre and These New Puritans - CLICK HERE


Quentin Letts:  'In this zombified, zoned-out, plasticated political system, the arts are shunted into a siding by an elite that does not want the great unwashed to get ideas above its station. It’s modern Britain! That is the brilliant success of this production: it hammers home how much Huxley got right.'

Paul Taylor: 'King remains broadly faithful to the novel's take of the future but she artfully tweaks it at points to emphasise how its prescience trains light on our own current fears about techno-addiction and mind-control.'

Dominic Cavendish: 'A boot stamping on a human face forever, or an all-embracing but suffocating erotic hug? Pain as the primary means of state control over the individual - or pleasure? '

Robert Gore-Langton: 'The novel’s high-brow assault on shallow materialism and moronic ‘groupthink’ is very much intact.... and you don’t have to have read the book to take fright at Huxley’s visionary warning.'
'The original music by These New Puritans heighten our sense of location and mood... The human story feels more than ever like a progression from mordant intellectual satire to piercing tragedy.'

Lyn Gardner: 'There’s a clever device that casts the audience as new recruits at the London Hatchery, where future citizens are named after Greek alphabet letters and designed to specification.'

Dominic Maxwell: 'Huxley’s depiction of a consumerist utopia taken to the nth degree — then gone sour — still rings uncomfortably true.'

Natasha Tripney: 'Dacre and designer Naomi Dawson have created a version of the future as viewed through the eyes of the past, and the production has a kind of retro, Jetson-sleek aesthetic'



Anne Cox:  James Dacre has created a dystopian masterpiece all of his own with engrossing performances, ambitious staging and a moody, futuristic score, using Dawn King’s all-too-realistic adaptation.
Libby Purves: 'Dawn King’s adaptation, under James Dacre’s stark, tight direction, sticks thrillingly close to Huxley '
Natasha Hegarty: 'James Dacre and his cast have done a wonderful job bringing this harsh – in some ways scary – story to the stage...The play hits you like a force field, especially in this social media-fuelled, political world.'
Matt Trueman: 'Days after 1984 closed in the West End, Brave New World kicks off in Northampton – and, in all honesty, I find Aldous Huxley's vision of a world placated into productivity more persuasive than Orwell's of compliance through fear.'

Verity Wilde: 'This is a very well designed production, making good use of projections and music to build the world and create different moods.'



John Griff: 'Think of 24/7 news, people plugged into a media-cocooned existence and a worldwide absence of social or moral balance and you’re right there – except right there is closer to right here than you might otherwise have though. It’s an ambition, challenging production. Pass the Soma…'
Hilary Scott: 'Whacks the viewer straight between the eyes – opening with a boom of music and lights and then steadying with the sterility of the laboratory conditions.'

Sam Wildman: 'It is fascinating to see just how realistic Huxley’s future vision was – and we must remember this was written in 1931'

Steve Mills: 'The overall production is incredibly brave and a startlingly new piece.'

Keith Bruce: The production is a slickly realised if bleakly desolate affair that suggests people power has already been tranquilised into submission.
Ken Wilson: When John the Savage finally declares “there’s more to life than personal fulfilment” the sixth formers look baffled.
Darryl Ryznar: Fabulous performance not to be missed
Damo Bullen: A savage & emotionally interactive production that breaks the mould in a lyrical & daring fashion.
Isabella Fraser: This is a piece that lingers, long after the curtain has come down.
It may not be perfect as a play, but perfection as Huxley shows us, isn't always a good thing.
Hugh Simpson: Much of the action is fascinating, with movement director Eddie Kay deserving of particular praise.
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