The Print Factory, Wellington
Jan 31-Feb 10 | Reviewed by Helen Sims

Sleep/Wake is an intriguing blend of science and performance. It is the product of collaboration between the Massey University Sleep/Wake Research Centre directed by Professor Philippa Gander and director Sam Trubridge and his company The Playground NZ. It ranges through dance, oration, Greek myth and scientific charts to explore the mysteries of sleep, particularly its “circadian rhythms”. This natural cycle, lasting about a day, is part of the physiological process of all living beings. The philosophy is that our circadian rhythms are often interrupted by the over stimulation we receive in modern life. Reflecting this thesis is a production that is incredibly visually, aurally and mentally stimulating as it charts the stages of sleep.

Upon entering the disused industrial warehouse where the show is set, we are guided to the seating block by an imperious male figure, wearing an unusual long skirted and corseted costume. He turns out to be The Orator, our guide through the production, played by James Conway-Law. On stage in bed is The Sleeper (Claire Middleton). Her sleep patterns are monitored by various wires sticking out from her head and feeding into a computer. The graph of her sleep is projected onto the back wall of the box stage and translated for us by The Orator. Afterwards I was not surprised to read in the programme that an influential text in the development of the piece was by Lacan – the monologue definitely had the feel of the poet-philosopher about it. The Orator then wakes The Sleeper up and manipulates her actions by calling out a series of numbers. The disruption of her natural rhythms is mirrored by the numbers falling increasingly out of sequence. The back of the stage then falls away to reveal a more expansive performance space and the focus turns from oration to movement.

The predominant modes of exploration are dance and technical design. As well as the Sleeper there are two dancers, Elizabeth Barker and Maria Dabrowska. I know very little about the “science” of dance, but the choreography in this production left me exhilarated. It seemed incredibly precise whilst also appearing fluid and at times primal. The sequence of dancing in the water, with the dancers flinging out their limbs and flicking those in the first few rows with drops was stunning. Their movement definitely conveyed much of the mood of the piece, and is complemented excellently by the sound, lighting and audio-visual designs.

The technical design is also stunning – it is great to see what a show with a reasonably healthy budget can do in this regard. There are three separate operators for the show – almost the same number ‘offstage’ as there are onstage. The lighting (by Marcus McShane) and sound by musician Bevan Smith is suitably moody and evocative, and at moments downright threatening. I particularly liked the rolling thunder type effect and the flashes of incredibly bright light that cut quickly to black – they had the effect of jarring the senses. Some fabulous images are projected, the most striking of which is deep sea diver William Trubridge sinking rapidly underwater, curled into a foetus-like ball.

I had a couple of minor quibbles with the show. I thought the addition of the Orpheus/Eurydice myth and its modernisation in a Skype call to the UK was unnecessary. I had really been enjoying the abstraction of the dance and was confused as to how these scenes related, except in the obvious metaphor of the Underworld. Also, the production struck me as profoundly gendered. The Sleeper and the dancers are all female, dressed in scanty costumes and they are manipulated by male figures – the Orator and the stage hands. The myth of Orpheus and Eurydice has also come under scrutiny from feminists due to the voiceless lack of choice Eurydice has. Here too only the (male) Orator is privileged to speak. I’m fairly sure this an unintentional side effect of the show, but it unsettled me nonetheless.

Despite this, I would recommend this show to anyone. Trubridge and his collaborators are to be commended for pursuing such an ambitious vision. The result is a highly challenging, experimental and exciting production, rendering science as amenable to expression through performance. There are moments of humour, surprise and pathos. The production will be fresh and unique every night due to its highly volatile elements. Don’t miss it – due to the intricacy if the production it is unlikely to be repeated.