A Clockwork Orange (New World Stages)

By Harry Forbes

This highly stylized adaptation of Anthony Burgess’ 1962 dystopian novel (later made into a famous film by Stanley Kubrick) comes to New York by way of London. As did several previous stage versions, including one written by Burgess himself, this one utilizes quite a bit of music, here almost wall-to-wall synthesized rock.

Director Alexandra Spencer-Jones’ production -- with an all-male cast of nine (from both sides of the Atlantic)  and choreographed within an inch of its life -- has a strong homoerotic feel above and beyond the buffed torsos on display (especially Jonno Davies as Alex, ringleader of a group of teenage thugs called, in Burgess’ Anglo-Russian Nadsat patois,  Droogs -- Dim (Sean Patrick Higgins), Georgie (Matt Doyle), and Pete (Misha Osherovich) among them). (Amusingly, the men’s room line snaked out for miles, while the women breezed into theirs with nary a wait.)

The intermission-less 90 minute production follows the basic outline of Burgess’ novel, as the gang terrorize and rape innocent people, both on the street and in their homes, a murder finally landing Alex in prison where another lethal act of violence leads to him submitting to aversion therapy designed to make violence repugnant to him, underscoring Burgess’ conundrum about the the morality of removing free will. After a suicide attempt, the reconditioning wears off, and unlike Kubrick’s film, the play ends with Alex’s final reformation, the portion originally dropped from American editions of the novel.

As with the recent stage adaptation of “1984,” you’d do well to read a synopsis beforehand, if you don’t know or have forgotten the story. The stylized staging and the cast playing multiple roles -- male and female, but hard to tell the difference -- often makes the plot turns difficult to follow. Timothy Sekk doubles as Alex’s parole offer and the prison chaplain. Brian Lee Huynh is the principal doctor of Alex’s behavior modification and also, earlier on, one of Alex’s unlucky victims. And so on.

The musical soundtrack accompanying all the onstage “ultraviolence” (as Burgess described it, coining a new word) is a highly amplified combination of original music by Glenn Gregory and Berenice Scott, Beethoven (that composer being the surprising favorite of the otherwise uncouth Alex), and others. So, too, there are some glaring lighting effects (James Baggaley) contributing to an overall assault on the senses. There were, in fact, a few walkouts at my performance, but a standing ovation at the end.

The relentless violence (sexual and otherwise) eventually grows wearying and loses its shock value. One doesn’t feel much, if any, emotional involvement in the action. But the tireless Davies gives an undeniably dynamic and highly committed performance, while also serving as fight captain. For all the non-stop dancing, sometimes suggestive of “West Side Story” to a rock beat, there’s no choreography credit per se, but cast member Aleksander Varadian is dance captain.

(New World Stages, 340 West 50th Street; Telecharge.com or 212-239-6200; through January 6)

Photo: Caitlin McNaney