Last Dream (on Earth)

There is something incongruous about sitting in a theatre with headphones on. It seems to go against the liveness of it, against everything that sets it apart as a form. But by the end of this innovative show from director/designer Kai Fischer I was convinced more productions should adopt the technique.

A parallel is drawn between Yuri Gagarin’s mission to become the first man in space, and the perilous journey of today’s refugees from Africa to Europe. The stories are told in tandem, with two musicians providing intimate accompaniment. The headphones allow the subtlest of sounds to become significant, from water sloshing in a bottle to a refugee’s panicked breaths.

It takes time to settle, and the early musical riffs don’t set the mood as effectively as they might. There is also a lack of dynamism stemming from the fact that the five performers are wedded to their microphones. But once your ear adjusts and the stories start to emerge, it achieves a level of dreamlike immersion. And Fischer orchestrates his company with admirable precision, including a stunning moment of silence.

Several productions this year make reference to the migrant crisis, but this one certainly stands out. The analogy drawn between space exploration and the refugees’ plight is pertinent, contrasting the very best and worst of the western world. We can put a man on the moon but condemn thousands to drown needlessly in our seas. A stark and important message.