Brazilian writer Mauro Fazon’s play The Dying Wish opens at the Golden Goose later this month as part of Lambeth Fringe.
“This bold new tragicomedy combines dark comedy with raw realism to hold up a mirror to our collective contradictions. While the play’s style is not strictly realistic, its content is deeply rooted in truth.
Using absurdist dialogue, surreal scenarios, and clownesque theatricality, the play exposes the cracks in our systems of justice, bureaucracy, and institutionalised violence.”
Where: Golden Goose Theatre
When: 30 Sep-1 Oct
Ticket link: https://lambethfringe.com/events/the-dying-wish
The team of Mauro Fazion (writer), Verónica Sarno (director), and Claire-Monique Martin (assistant director/producer) opened up about A Dying Wish.
What made you want to write this show? Do you think bureaucracy is becoming more absurd?
Mauro: The Dying Wish doesn’t advocate for any specific “message” and has no intention of spreading any particular idea.
I don’t write with a pre-determined message in my head, or an idea to “get across” to the audience.
Every play begins with a fact, an image, and develops from the interactions of characters who literally emerge from that context, from that story.
So, this is a poetic construction; it’s not a pre-planned story, a philosophy, or an ideology that I, as a writer, then adapt for the stage.
It doesn’t work that way. However, a message certainly does emerge in the mind of each person in the audience, and that message will be different for everyone (if it’s a good play!).
In The Dying Wish, it all started with the image of someone going to their final execution and their last wish to play the piano.
From that point on, the discussion between the characters, who become real beings, revealed that this was the result of a justice system completely corrupted by interests, ignorance, and bureaucracy.
Bureaucracy itself is fundamentally absurd, and when layers of information and processes are inserted to justify more and more layers of bureaucracy, we have an endless cycle.
Some benefit from this, but most lose, and lose a lot.
Why should audiences come along to see your play and what might they expect?
Mauro: The play contains many layers, and the audience can resonate with several of them, or just a very specific one, depending on each individual’s experiences and concerns.
There’s certainly the context of injustice and bureaucratic absurdity that leads an innocent person to condemnation, but there are also the protagonist’s family relationships and his conflicts with his mother and his son who is involved with drug addiction.
We have the two judicial system employees who are the ones who, in fact, have to carry out something they themselves wouldn’t agree with.
There’s the ridiculous belief in a technology that could save everything, but which is being applied to extermination.
We have those who take advantage of the system’s loopholes to do business, in an environment where the empathy of some conflicts with the self-interest of others.
And we also have beauty, which is manifested in the details of human relationships.
Do you find fringe theatre inspiring?
Verônica: I find Fringe Theatre extremely inspiring because it offers complete creative freedom. It allows artists to be bold, to take risks, and to create without the usual limitations or impositions.
It’s a space where new writing and fresh artistic ideas can be explored, where experimentation isn’t just encouraged but celebrated.
Through Fringe, we have the chance to reach every type of audience, connect with diverse communities, and truly understand theatre as a collective experience.
Most importantly, it’s a platform that lets us experiment, evolve, and push the boundaries of storytelling in order to move theatre forward.
Claire-Monique: Absolutely. Some of the very best productions now gracing the West End began in fringe and pub theatres.
Fringe theatre is the foundation for so many of us—it’s where we find work, develop our creativity, and nurture the ambition to one day contribute to the rich heritage of the West End.
Festivals like Lambeth are vital because they remind us that every great production has to start somewhere.
They also give us the chance to connect with audiences in an accessible way, without the barrier of high ticket prices.
Theatre should belong to everyone, and fringe theatre ensures that new ideas and fresh voices can continue to thrive.
What’s next for the show?
Verônica: The journey of The Dying Wish doesn’t end here. This is only the first step in bringing this incredible piece to life. Our next goal is to secure a longer run.
We are currently applying for Arts Council funding, seeking investors, and reaching out for support from the Brazilian Embassy.
Beyond this stage, we hope to present the piece at festivals worldwide, as we deeply believe in its power and resonance.
We also aim to expand into larger, more commercial venues, allowing us to showcase the production at its full potential and connect with audiences of all kinds.
Claire-Monique: After Lambeth Fringe, we’re planning a full run and are currently applying for Arts Council funding to support the next stage of the production.
This is by no means the end of The Dying Wish. Right now, we’re also running a Kickstarter campaign to help bring this version to life—so if you believe in supporting the arts, even the cost of a cup of coffee can make a real difference.
Both Verônica and I are deeply passionate about this story, and we’re determined to give it a longer life.
Whether it’s later this winter or early 2026, we’re already in discussions to make that happen.