JackRabbit Theatre’s Lucidity portrays the story of Alex, a self-help tycoon who made millions through his company Lucidity, which promotes the benefits of lucid dreaming. Lucid dreaming is when a person is aware that he or she is dreaming while they are doing so. Alex has successfully capitalised on this concept by asserting a method in which the dreamer can deliberately influence their state of mind, and thus, continue living their waking life whilst they are asleep. However, Alex begins to abuse his methodology and lives in two worlds, mistaking his dreams for reality.

Directed by Michael Abercromby, Lucidity is captivating, innovative, and thought-provoking. The cast (Andreas Lohmeyer, Charlotte Hazzard, Felicity McKay, and Shaynee Brayshaw) were sublime and highly skilled. Together and as individuals, they crafted scenes that were deeply engaging and compelling, delivering powerful and emotional lines throughout the performance. Even in the small details – for instance, the way they demonstrated the passing of time or the transition into Alex’s dreams – their work was obviously meticulously practiced, and all were highly effective in the development of the plot.

Although it was merely set on a stage, bare except for a bed, the actors’ movements, physical actions, and body language amplified the emotion within each scene. This was especially evident in interactions between characters, in one of Alex’s controlled dreams, and in their own individual performances. Both the script and the plot line were cohesive and intelligent.

Although the other characters did criticise Alex’s failures, they would almost always subsequently illuminate his virtues. Lucidity leaves the audience asking themselves: was Alex, known for his selfishness and disregard for others, a likeable protagonist or, in actuality, the antagonist of the story? Or was he simply a victim of his own creation?

Quite possibly one of the most interesting concepts of this year’s Fringe, Lucidity is a show that is heartbreaking, and extremely memorable.