THE MAN WHO DREAMED
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https://www.youtube.com/watch?v=SlyroyiH9Oc
26/09/2020
The Man Who Dreamed continues the run of The Adelaide Repertory Theatre’s series of virtual plays, each a different genre and playwright Ciaran McConville’s unpublished early script first performed at the Edinburgh Fringe is no exception.
Interestingly this play starts with a prologue of sorts featuring McConville outlining the birth of his play based on a quote from T. E. Lawrence.
The play (film) centres on Arthur Penman, a sort of everyman whose life is stuck in a rut working as a clerk for the reputable firm of Singleton, Drab & Gray. He discovers a beautiful woman who has mysteriously appeared in his flat and convinces him that he is indeed a playwright. A group of characters drift in and out of his real life also becoming a bizarre troupe of actors performing the period play he begins to write. The play takes its toll on Arthur’s mind and we as the audience (or viewers) are left wondering what is real
Director Erik Strauts handles this somewhat surreal play competently guiding us in and out of reality with ease.
The Man Who Dreamed depends on a believable central character with whom we can empathise. Ben Todd embodies Arthur Penman, his strengths and foibles. He is addictive to watch and holds the production together. His naturalistic approach and ability to relate to the camera creates a feeling of intimacy.
He is supported by an enthusiastic support cast, Malcolm Walton, Laura Antoniazzi, Simon Lancione, Simon Barnett, Anita Zamberlan Canala, Kyla Booth, Deborah Joy Ralph
& Kathy Strauts. The energy they gave to each of their characters was commendable, however the accents did not always remain consistent within each character. Even though they are figments of Arthur’s mind, a little more subtlety of characterisation would have better translated to film.
They slip in and out of their characters in a collection of kaleidoscopic colours. While I presume the choice of this miscellany was to symbolise the state of Arthur’s mind and to separate them from reality, the effect left me confused at times.
Deborah Joy Ralph’s performance of Elizabeth Brady’s violin solo is a highlight and successfully linked scenes.
Vicki Barrett’s tango choreography is an unexpected and welcome addition to the action.
Photography, sound and editing successfully interpret the play as a film experience.
The premise of The Man Who Dreamed is fascinating and although the period play sections could be tightened a little more, there are many thought provoking and heart-rending moments. The exuberance of the cast keeps the pace moving and provides some idiosyncratic characters.
As always, the Adelaide Repertory Theatre are to be congratulated for keeping theatre alive as we start to enter its slow re-emergence.
By Barry Hill