AM+Performance+Critique+for+Life+Is+a+Dream

Alex Moosariparambil Professor Richmond 17 October 2011

Performance Critique of //Life Is a Dream//

In the program for this play, the University of Georgia’s Department of Theatre and Film Studies describes its “three productions [as] an intimate and stripped-down format that puts the focus on acting, directing, and the script itself.” //Life Is a Dream//, as directed by Dr. Marla Carlson, is the epitome of this statement. Performed in the Cellar Theatre, this play took advantage of minimal set and costuming to create a dramatic and comedic production of the perennial drama between father and son.

One particular aspect of importance to note in this play is the director’s choice to open the play in a modern setting. In the introduction provided Dr. Carlson, she talked about her work with the Golden Age working group of the American Society for Theatre Research and how they introduced her to Miguel de Cervantes’ //The Marvelous Puppet Show//. In this play by Cervantes, a group of players and a musician perform a play that can only be seen by people with pure Christian blood. In a modern twist, this entire performance of //Life Is a Dream// was supposed to only be seen by those members of Mr. Franklin’s company that achieved their success without relying on anyone but themselves. Furthermore, it was directed to be like a workplace teambuilding activity. This choice of opening was interesting because of two reasons. Firstly, it connected a play during the times of kings and nobles to modern times, and secondly, it allowed for the introduction of comedy. The actors were able to keep this workplace motif present during the play without taking away from the play itself.

Continuing with this theme of minimal setting and costuming, this play really allowed for the actors to shine or fail in some cases. Similar to //39 Steps//, this play took advantage of few actors for a multitude of roles. Identifying some of my favorite actors and actresses, Dane Alejandro portrayed the roles of Kenneth Franklin and King Basilio, Malcolm Campbell-Taylor as Mr. Boots and Clorilene 1, and Libby Ricardo as Erin Boyle and Rosaura.

Alejandro entered the play early in the role of Kenneth Franklin. As the CEO of his organization, he’s portrayed in a suit and gives off an executive vibe. As the play continues, he ditches his tie and coat and remains in only his kingly vest. He is a good mix of comedy and drama and is the first person to acknowledge the audience by soliloquizing to the audience and admitting his inability to see any of the wondrous things as described by Mr. Boots and Ms. Straps. His transition from CEO into King is wonderful. He was able to portray a variety of emotions and even humanizes the role by slipping out of character. In doing this he helps his colleagues as well as the audience in understanding the history behind each of the characters. As the king, he captures the audience’s attention with his monologues and his dramatic movement. His confrontation with Segismundo is played perfectly. He embodies the disappointment with his son’s inability to act with decorum and his barbarity. His skill at portraying a multitude of emotions is perhaps best exemplified in one of the last scenes. As he, Astolfo, Clotaldo, and Estrella discuss his army’s defeat and Segismundo confronts his father, the audience can see his change from anger to understanding to defeat and finally to amazement at the compassion of his son. I believe that Alejandro was a great choice in this production.

Another character I particularly enjoyed was Malcolm Cammpbell-Taylor as Mr. Boots and Clorilene 1. In mentioning these two roles it is important to mention how impressed I was at how easily he transformed his character. Unlike the clowns from //39 Steps//, whose brief transformations to female characters added to the hilarity, Malcolm was fully changed and committed to a strong female role. As Mr. Boots, he came across perfectly as the well dressed and walking with a swagger conman. As Clorilene, he came across perfectly as the worried mother. Again his ability to capture a character’s emotion was apparent in the confrontation between King Basilio and Segismundo. Because he was playing the role of a spirit his postioning was in the back of the scene. However, as I glanced at him I saw the tears in his eyes and realized how in the scene he really was. Acting as a mother watching her son being sentenced to exile and unable to do anything about it.

Another character I enjoyed watching was Libby Ricardo as Erin Boyle and Rosaura. Starting in the role of Erin Boyle, the doubter of all team-building activities, she transformed into Rosaura. She played the role of heartbroken lover well and displayed a wide range of emotions. One of the best displays of her acting ability was her interaction with Clotaldo. Her anger at being dishonored by Astolfo is tangible, and her exchange with Clotaldo describing her need to kill him is her spotlight scene. Additionally, Ricardo brings the play to an end by denouncing this “team-building” activity as a hoax.

This performance did very little with setting, costuming, and sounds. The play started with Mr. Boots and Ms. Straps lugging their luggage across the stage. This one travel trunk serves as the source for all props in the play. These props are very minimal as well, just a few swords and books. The costuming was also very Spartan. The costumes were only a vest for male roles and skirts for female roles. The color schemes were simple consisting of royal blues, rich purples, and crimson reds. The patterns were simple only consisting of a gold trim. The only exception was Clarin’s costume. His consisted of a lot of patches and patterns and was fitting of his comedic character. The sounds associated with this play were also very minimalist. The actors themselves created the only sounds, either with their mouths or by beating on a table. One interesting aspect of this play was that a lot of lines were sung rather than spoken. This led to more dramatic depiction of the actors and the scenes being portrayed.

This production by the Fine Arts Department was also really enjoyable. Rather then focusing on the set or costumes or lighting and music, //Life Is a Dream// focused on an actor’s ability to capture an audience’s attention and imagination. Dr. Marla Carlson succeded in creating a play that captured the intense drama between father and son.