Presented by Hart House Theatre (7 Hart House Circle). Opens Sept 15 and runs to Sept 25
Wed.-Sat. 8PM, matinee Sept 25 at 2PM. $15, students $12. 416-978-8668.

Toronto, ON - If you've read the book written by Anthony Burgess, you'll know why the story sparked so much discussion when it was published in 1962. Comparably fervent dialogue arose when the screenplay, directed by the experimental Stanley Kubrick, was released in 1971.

A Clockwork Orange is an introspective and graphic exploration into the depths of the human psyche, an inquiry into ideas of good and evil, freewill and predestination, and individualism and conforms of society. The play raps about psychological oppression and governments exercising power over young people reflecting separation between youth and the establishment, which in the mid 1960's was of popular discussion in Britain. Furthermore, it's an allegory of Christian free will. Man is defined by his capacity to choose courses of moral action. If he chooses good, he must also have the possibility of choosing evil. Evil is a theological necessity. Burgess dealt with these issues in an undeniably brilliant fashion making the novella one of the greatest, most thought-provoking stories of the 20th Century.

MTV director, Robert Ginty reaches from the states wanting to make this production "excite and reengage Toronto's young audiences." With an excessive number of killings and gang attacks in the G.T.A. within the past few years, the city has seen more than its share of violence. He expresses, "I see the 'outlaw' hip-hop inner city culture as being at war with establishment authority," making the story of A Clockwork Orange a perfect fit for the University of Toronto's theatre.

Hart House Theatre's presentation of A Clockwork Orange had all the elements of a hip-hop production: graffiti painted set, emceeing by select cast, beats by DJ Spinster, and breakdance interludes by the Drunken Monkz. Fortunately, one hip-hop facet that the play did lack was the two-hour "hip-hop time" delay (HHC readers, you know what I speak of). With an expected full house, the venue was about three-quarters full at a quarter after eight.

The setting was typical street, resembling a little of the musical Rent with a grungy urban alleyway feel. With a set of three levels, the DJ and narrator were appropriately separated on the top level from the rest of the action. Although, executive producer, Paul Templin says that the budget for the production was minimal, the set was laced with graffiti, wire caging, creative lighting, and neon signage appropriately contributing to the tone of the show.

A real horror show of youth culture, the play begins with a diabolical orgy of criminality. The protagonist, Alex is played by Toronto emcee, Bishop. With fanatical interests of rape, torture, murder and Beethoven, Alex is, to say the least, a disturbed youth.

The sociopathic young man heads a crew of 'Droogs' including Dim (Kalen Hayman), Pete (Rochester a.k.a. Juice), and Georgie (Byron Abalos). The sadistic gang perform vile acts upon society, soon things go down and Alex is imprisoned. With one chance for early release he undergoes an experimental Pavlovian treatment trial. Dr. Brodsky (Joel Grothe) forces upon Alex horrifically violent film programming with the accompaniment of Beethoven's symphonies. Accordingly, Alex is sickened by the thought of violence and by the same token, classical music. Alex is assessed as "cured" and is released back into society lacking his urges for violent engagement.

Burgess confronts the concept of moral persecutions and Pavlovian experiments on humans. When Alex is programmed to become sick at the thought of violence, he assumes the ownership of the play's title. Or as the prison chaplain says, "When a man ceases to choose, he ceases to be a man." The story of A Clockwork Orange examines the idea of freewill forcing its audience to confront the disheartening choice between two evils: random acts of violence or a state of grey totalitarianism where youthful aggression and passion is controlled.

Prior to the audition, Bishop had never even heard of the novella and evidently, knew nothing of what or whom A Clockwork Orange entailed. Bishop says, "I thought maybe I was doing a cameo or something. I didn't know I was going to audition for the main roleÖ When I went into the audition. I had never read the book or seen the film. I found out that the whole play is surrounded around Alex." The talented emcee impressed both Templin and Ginty and linked, winning the lead role over fellow Toronto lyricist K-OS.

On working with Ginty, Bishop gives major props to the pop-culture director, "He's the only guy, to appear on The Love Boat and kill somebody! He's the only guy ever responsible for a death on The Love Boat! He's a legend. So I'm taking his wisdom and using it to my abilities." Bishop says working with him was inspiring. He felt that Ginty was able to draw out every ounce of emotion, "I was like... I don't think I can do that. But when I think I can't do something, that's when I strive to do it. So now I've done it!

In addition to memorizing lines, Bishop found the Nadsat language a challenge to learn. Burgess' original language was the dialect of Alex and his Droogs, originating from Slav propaganda and Shakespearean English. Ginty used the original Nadsat also incorporating hip-hop slang. Whether it was the volume of the background music or the fusion of the various vocabularies, the Droog language was somewhat incomprehensible at first. Though, by the second or third scene, the Droogs were much more intelligible revealing Bishop's exceptional dramatic talents surprising audience members. One spectator noted, "I never expected a performance like that from Bishop. As a freestyle emcee, you'd never really place him in such an animated and whacked-out role." One of the more memorable scenes of the lyricist's performance was his reaction to the Pavlovian-style experiment. Alex reacts to the dire violence and horror that he sees on a film projection, which is accompanied by Beethoven's classics. Directly facing towards the audience, as if it were the projector screen, Bishop plays a convincing Alex with focused eyes and frighteningly urgent cries.

As written by Burgess, the violent film is complimented by Beethoven's classic symphonies. Although Alex's ultra-violent sociopathic side was well developed, his more refined side of his love for classical music was lacking. It was during Alex's experience with the Pavlovian experiment that the audience was first exposed to his love for Beethoven. Without fully developing character Alex's interest in music, the audience was left somewhat confused. As expressed by a hip-hop industry insider, "I didn't really grasp where Alex got his love for classical music. I thought that this characteristic could have been developed further, introducing the classical music even before we see him in the chair." Also suggesting, "Instead of Beethoven, I would have liked to have seen some soul, like Al Green's Simply Beautiful." A keen insight, classic soul may have been more suitable. Classical music has become a typical avenue in film within the past decade to further the effect of graphic violence. Would classic soul have had the same effect? Maybe -- maybe not, but either way, a relevant suggestion.

Contrasting the scenes of brutality, the play did integrate comical elements. The Minister of the Interior played by Peter Nelson called out a positive reaction by the audience. With witty quips and a farcical, unexpected Broadway-like tune, The Minister of the Interior amused spectators. Performances by the breakdance crew, the Drunken Monkz and the narration by Professor D from the Dead Poets Society were a welcomed interlude linking set changes. The six Drunken Monkz impressed the audience with their freestyled and choreographed moves giving actors a break between scenes. Professor D wrote all of his own narration utilizing his ability for lyrical flow, "I got to write it all. I was the only one in the play that got to do that. " Within the show Bishop drops one freestyle session to his probation officer, "I didn't really like what they wrote for me during that scene. So now, it'll change every night."

Unfortunately, not all musical arrangements were as enjoyable as those of Bishop, Peter Nelson, and narrator, Professor D. Gospel music may have seemed fitting for an urban production, but the singing chaplain, Christine Harris did less than impress. Harris' gown seemed to be larger than her voice. Hitting an accurate key but lacking strength, listeners sat uneasy, more impressed by earlier episodes of Canadian Idol.

A Clockwork Orange was written in reaction to the deep-rooted debate in Britain whose society believed that its juvenile delinquents were an inhuman breed that demanded equally inhuman treatment. In comparison to Kubrickís version, Ginty's production tones down the violence due to the younger audience or the constraints of theatre. Select scenes of brutality are implied through screams and movement backstage.

Overall, the performance was well received by a varied audience consisting of hip-hop industry professionals, families and students. Of the audience's reactions, Bishop says, "It was all energy and vibe. The crowd was so responsive and caught all the good laughs." In its entirety, there were more successes than defeats for the hip-hop-stylized classic at The Hart House Theatre. The performance was versatile offering an entertaining upbeat show expressing essentially what Burgess visualized, his view that no matter how 'good' one's actions are unless one has free moral choice, he is spiritually damned. Men are what they are, and are not forced into being so by any social conditioning or pressures. Our willingness to reform rather than punish, to educate rather than discipline is clear in this performance. It is a traditionalist's fear of the future, a future of totalitarianism. The story forces us to ask a controversial question, "Do we lose our humanity if we are deprived of the choice between good and evil? Do we become - as the title suggests - A Clockwork Orange?"