The Bali Nine are still in gaol facing an uncertain future since their arrest, in early 2005, while attempting to smuggle 8.2kg of heroin from Bali to Australia. As the subject of a play, this is a brave choice, given that opinions, both judicial and public, about the death penalty are still deeply divided.

Bondi Dreaming opens with Frankie (Toby Levins) giving Charlie (Greg Hatton) a surprise party. These two play with gusto, incidents from their lives back home- some banal, some moving, in an almighty effort to stave off the stark reality of being executed by firing squad. When Macca (Danny Green) returns to the cell it is obvious he is struggling to keep up these charades and has to be physically threatened to continue and participate in the group delusions. So we see these three prisoners strive to recreate and re-enact elements of their daily lives like football games; get rich quick schemes; picking up girls; having sex; deaths of family members; being gloriously drunk and of course being at the beach. The shared illusions are part of an effort to normalise what is a bleak and desperate situation. Eventually Frankie and Charlie are executed and Macca is left to continue his own games of pretence alone.

Fenella Jolly should be commended for her lighting design and stage set. The audience is confronted with a square gaol cell consisting of rear brick wall and prison door meagrely equipped with sleeping mats and bucket for toilet. The fact that the cell is lined with sand reinforces the idea of escapism rooted in reality.

Dr. Johnson said "nothing so concentrates the mind as the prospect of imminent hanging" and it takes some suspension of belief to suppose these men are actually facing death by firing squad. Playwright Sam Atwell takes too long in over establishing the fantasy premise with gallows humour and vignettes of very Aussie blokey, beer drinking interactions. The meat of the play; the men actually dealing with the reality of their situation; their all pervasive fear, blame and guilt is too long coming and when we do get to it, the meal is insubstantial. The play feels unbalanced and the structure may be suffering from the improvisational content included which showcases the actors but does not always add to the story. The Amundsen type exit of Charlie before his execution when Macca instructs him to ‘pick up a case’ feels forced and like sentimental overkill. Bondi Dreaming suffers in comparison with other plays like Marcel Puig’s Kiss of the Spiderwoman which deals with similar subjects of incarceration, friendship, love and fantasy escape in a much more satisfying manner.

Atwell directs well, with a lovely part before and after Frankie dies, when wordless grief and slowed action is very effective. The use of multiple sketches allows Levins, Hatton and Green a range of characters and situations to play with passion and humour, with able help from Josh Green. He is positioned stage left and operates sound, percussion and almost foley like accompaniment to the action of the play throughout which adds greatly to the feeling and mood of the piece.