It is often said that humor holds significant healing powers, a sentiment that resonates with Van Badham. Concurrently, theater serves as a potent empathy catalyst and an exhilarating refuge from life’s monotony. When infused with hearty laughter, it creates the perfect recipe for profound catharsis.
The serendipitous encounter with the works of Spanish Baroque playwright Félix Lope de Vega unveiled a delicate yet powerful combination that proved to be a transformative elixir for Badham. Leveraging her multifaceted talents as an active author, playwright, and social commentator, she channeled this experience into A Fool In Love (Feb 6 – Mar 17), a sharp-witted romantic farce that marks the commencement of Sydney Theatre Company’s 2024 Season in a riotous manner. Anticipate a production that promises to resonate deeply with Sydneysiders, offering a truly relatable experience.
In an insightful feature, Van Badham engages in a self-interview for Time Out, providing a unique glimpse into her creative process.
Van: Van, what inspired you to create this play?
Me: I was in desperate need of laughter. My time during the pandemic lockdown was arduous, delving into the depths of a neo-fascist internet cult for my book _QAnon And On_—not exactly a source of amusement. Amidst this, my dear mother received a terminal cancer diagnosis, prompting me to return to Sydney to care for her until her passing. Seeking solace and a shift towards positivity, I recalled a pivotal moment in London back in 2010 when I attended David Johnston’s remarkable adaptation of Lope De Vega’s 17th-century Spanish comedy Madness in Valencia at Trafalgar Studios. Those two blissful hours allowed me to escape my troubles and immerse myself in laughter among strangers. Revisiting other works by Lope De Vega, I stumbled upon the electric and humorous essence of his 1613 comedy La Dama Boba. Inspired by this, I proposed an adaptation to the STC, leading to the commission of _A Fool in Love_—a production that encapsulates the essence of Sydney and the universal need for levity.
Van: Could you provide an overview of the play’s narrative?
Me: The narrative revolves around two sisters from a once affluent family now facing financial struggles and the risk of losing their home. The younger sister, possessing sophistication but lacking practical skills, contrasts with her elder sister, who, despite her lack of intellect, stands to inherit a substantial fortune through marriage. As the plot unfolds, a group of ambitious individuals from diverse backgrounds, including affluent and suburban circles, intertwine in a web of schemes, deceptions, and comedic chaos. While rooted in Lope de Vega’s original storyline, the play’s thematic exploration of wealth and ambition takes on a contemporary resonance against the backdrop of Sydney’s evolving social landscape.
Van: Your collaboration with director Ken Moraleda marks your second venture with the Sydney Theatre Company following the success of Banging Denmark in 2019. How did this partnership evolve?
Me: The synergy between Ken and me was orchestrated by the STC, recognizing the pivotal role of the playwright-director dynamic in shaping new theatrical works. From our initial meeting, characterized by Ken’s distinctive melon-colored tracksuit, I sensed a creative alignment that was reinforced by our shared commitment to eliciting genuine laughter from the audience. Our collaboration on A Fool in Love has been marked by a relentless pursuit of comedic perfection, with each joke meticulously refined to maximize its comedic impact. Ken’s intuitive understanding of the characters and his astute casting choices have elevated the production to new heights. Together with our dedicated design team, we are fully invested in delivering an unforgettable comedic experience that resonates with the audience.
Van: When can audiences experience the show?
Me: A Fool in Love is currently enchanting audiences at STC’s esteemed Wharf 1 Theatre, with performances scheduled until March 17. The production offers a diverse range of showtimes, including matinees, captioned performances, as well as sessions with Auslan interpreters and audio descriptions—all conveniently listed on the STC website.