Life is a Dream
by Pedro Calderón de la Barca
Translated by G.J. Racz
Directed by Philip Boehm
Upstream Theater
October 18, 2024
Jerry Vogel, Reginald Pierre
Photo by ProPhotoSTL.com
Upstream Theatre
Upstream Theater is known for its St. Louis premiere productions, as well as highlighting shows from around the world. I don’t know if its latest show, Life is a Dream, is a local premiere, but it’s likely to be the first exposure to this Spanish classic for a lot of local theatregoers. It’s a classic work of theatre written by a playwright who has been referred to as “the Spanish Shakespeare”, although it doesn’t seem to be as well known in the USA as it should be. Whether you are familiar with this work or not, the production at Upstream, translated by G.J. Racz and directed by Philip Boehm, is an energetically staged, well-cast production that’s sure to provide an ideal introduction to the uninitiated (like myself).
The play has somewhat of a complex blend of subplots and characters. Although this is a Spanish play, the setting is in Poland, in the court of the fictional King Basil (Jerry Vogel), who has been influenced by fear of bad omens concerning his only son and heir, Segismund (Reginald Pierre). Because of his interpretation of certain weather patterns and other signs, Basil has been afraid that his son will become a tyrant if he is allowed to rule, so the king has locked the prince up in a tower to be raised by his tutor Clotaldo (Gary Glasgow). Not surprisingly, the young man has grown up bitter and confused, and although the King has designs to leave his throne to the Duke of Moscow, Astolf (Mitchell Henry-Eagles)–whom he has agreed to allow to marry his niece, Stella (A. J. Baldwin)–Basil has become overcome with remorse, deciding to summon Segismund to court and reveal his identity, to see how he will react to his newly disclosed royal position, with the plan to just tell him its all a dream and send him back to the tower if he reacts badly. That sounds like a great idea, right? Meanwhile, a Russian noblewoman, Rosaura (Jennifer Theby-Quinn) has shown up at the tower disguised as a man and accompanied by her servant, Clarion (Alan Knoll), meeting Segismund and Clotaldo before they are taken to court, and without knowing that Clotaldo has a secret that directly affects Rosaura, who in turn has unfinished business with Astolf. All these stories weave together in complicated and sometimes surprising ways involving secrets, hidden identities, confusion between dreams and reality, and more. It’s a fascinating show that can be a little confusing at times, and the ending will certainly be fodder for debate, but I won’t say more because that will spoil the drama.
While this is mostly a drama, there is a fair amount of comedy, as well as some action in the form of well-choreographed fights directed by Michael Pierce, who along with Bryce A. Miller, plays a variety of “guards, servants, and soldiers”. The set is simple but striking, designed by Patrick Huber and consisting of a slatted wooden platform with an ethereal backdrop, lit with whimsical flair by Steve Carmichael. There are also remarkably detailed costumes by Michele Friedman Siler and excellent sound design by Philip Boehm and Sabria Bender. The production looks period-specific and distinctive, adding much to the overall effect of the production.
The cast is first-rate, led by standout turns from Vogel as the conflicted King Basil, Pierre as the constantly frustrated but determined Segismund, Glasgow as the secretive but loyal Clotaldo, and Theby-Quinn has the persistent Rosaura. Henry-Eagles and Baldwin are also memorable as Astolf and Stella, and Knoll is a delight as the devoted but hapless Clarion, who has many of the show’s best comic moments, but also some memorable dramatic moments. Pierce and Miller lend strong support in their various roles, as well. It’s a strong ensemble all around, and the brisk staging helps to maintain the flow of the many interwoven plots. There are some slower, talkier moments, but for the most part, this is play that moves fairly quickly despite its fairly long running time.
Life is a Dream is considered an international classic of theatre, but I have to admit I wasn’t familiar with it before seeing this production. Upstream Theater does an excellent job of introducing works like this that should be better known to audiences in St. Louis. And their productions are staged with consistent excellence. This production at the Marcelle is a wonderfully cast, cleverly staged show that’s both entertaining and thought-provoking. It’s a thoroughly intriguing theatrical experience.
Jennifer Theby-Quinn, Gary Glasgow
Photo by ProPhotoSTL.com
Upstream Theater
Upstream Theatre is presenting Life is a Dream at the Marcelle Theatre until November 3, 2024