There is also the play within the play, which forces the characters and the audience to really think about what is real, what is illusory, what is delusional.
Act one focuses our attention on the crisis and chaos of the lives of the patients and forces Lewis to stand up to the challenge they present him. There is much tension between the characters and we see how different they all are; yet they have been lumped together in the asylum by society.
Act two shows us the increase of tensions, Lewis taking control and going with the flow as the final production is ready. Afterwards, Lewis addresses the audience, informing us what happened to the people in the play, some with tragic endings. This zones us in on reality once again.
Julie: “I've always thought that love was being foolish and stupid. It's about being on the edge and I like being on the edge. It's not divine madness like some people think, there's no such thing as divine madness, madness is just madness. Love is hallucinating without drugs.”
The audience see the change in Lewis’ beliefs and attitudes; change from love and fidelity as inconsequential to life at the beginning of developing the play to a strong believer of love and fidelity. The important message Nowra is trying to convey is that love and fidelity are in any relationship and what is life without love.
Cosi is not just about conveying the concept of love and fidelity but also to convey the conditions faced by people with a mental illness. During the play, Nowra begins to blur the lines between sanity and insanity by building on the character of Lewis. At the beginning of the play Lewis lacks self confidence and faith in the patients as these people are mad, and only takes up the position as director for the money that...
Despite the overwhelming difficulties, the patients develop a strong commitment to the opera and a somewhat chaotic performance takes place before an audience of supervising staff and semi-comatose inmates....