Life is a Dream - Fervour

Life is a Dream

25A

“Life is a Dream” is the best-known play from playwright Pedro Calderón de la Barca (1634), a Spanish Golden Age writer. It blurs the lines between dreams and reality, destiny and free will. It is a philosophical allegory regarding the human situation and the mystery of life. Rarely staged but those of us from ancient times recall Benedict Andrews/ Beatrix Christian/Justin Kurzel striking production for Sydney Theatre Company (2002).

In the original, the play follows the story of Segismundo, a Polish prince who has been locked in a tower since birth. The astrologers predicted that if Segismundo were allowed to roam free he would leave nothing but death and destruction in his wake. His father, King Basilio, heard the prophecy and decided not to take any chances... until now.

In this reimagined version by Claudia Osborne and Solomon Thomas the play becomes a palimpsest.  We must imagine Segismundo’s (Ariyan Sharma) entire life confined to a single room. Our only source of entertainment? Grainy ’90s VHS tapes of a family you’ve never met—and Clotaldo (Thomas Campbell), the only man you’ve ever known, who visits once a day (he’s a kind of minder who delivers the daily to-do list). For twenty-two years, this has been your world. Then one day, you’re drugged, dragged to a castle, and told you’re a prince.

What to make of this newly minted version? It’s all colloquial language, and looks and feels domestic. First of all, we know the key artists are no slouches – Claudia Osborne is building an impressive portfolio of directing credits (Burn Witch Burn, Destroy She Said) and is currently a young Artist with Opera Australia. Solomon Thomas is known for his driving force behind re: group performance collective (POV, Coil).  According to the program note, the original pitch was to incarcerate an actor in the 25A space and then we watch via surveillance techniques. Having to settle for something far more traditional, the first part of the production is very much watching a life behind a fourth wall. Segismundo has spent his life imprisoned in his bedroom not knowing he is Prince of Poland. I admit that a combination of preshow sherbets and jetlag afforded me a long blink or two, but I can say with certainty that the veracity, detail and invention of Thomas Campbell and Ariyan Sharma is first rate. It is challenging to gauge in such an intimate theatre. This work is an acting masterclass.

The second part morphs into a family drama guided by live singing of the Saint-Saens operatic aria “Mon cœur s’ouvre à ta voix”. (from a roster of young opera singers). Now we are in the world of a family divided. Resonating themes of confinement, oppression, protection and love are familiar in the family dynamic.  The play asks us to consider the difficulty of seeing through illusion to things as they really are. This version has, thankfully, employed humour and a strong cast fills the stage. Shiv Paleekar (Astilfo) and Ariadne Sgouros (Estrella) are light and funny.  Sgouros is a treat in any production and her beautifully wrought performance here is no exception.  Essie Randles (Rosaura) gives a solid performance in the small role and Mark Lee gives us plenty of power as the patriarch, Basilo – who decides on his 60^th birthday to release his son into the world.

Cris Baldwin's set and costume design, along with Kelsey Lee's lighting and Madeleine Picard's sound design, effectively create the atmosphere for the production. Fireworks are left to the actors.

It is always a pleasure to encounter ambitious, thoughtful and intelligent creativity in the theatre. As it might be another 23 years before we see a version of this challenging play, don’t miss your chance to increase your knowledge of theatrical repertoire and the work of young artists on the rise. This is a story vividly portrayed, confidently rendered.

Review by Kate Gaul

Image: Brett Boardman