Suenos, vampiros y bebes (Dreams, Vampires & Babies), Teatro Vista, at the Chopin Theatre. Dreams–at least those that provide the material for this journey through our subconscious minds–are based in our earliest memories, which are scary as often as they’re happy. The roster of dreams here includes commonplace nocturnalia–discovering oneself suddenly naked, being menaced by monsters, witnessing one’s mother having sex–as well as some more complete stories: a dowager invokes divine intervention to roust annoying teenagers, for example, and a stranger is lost in an unfamiliar city.

More intriguing than the subject matter, chosen from the ensemble’s real dreams, is the inventiveness of Teatro Vista’s presentation. In one episode, an impotent man is advised by his dysfunctional penis (played by an actor in a featureless bag) to “connect me to your heart.” In another, a youth’s fantasy of sybaritic group sex is mirrored by a nightmare of vampires extracting different bodily fluids from their victim. And then there’s the funeral where a mourner revels with Death in a literal fiesta de los muertos.

What text there is is spoken in a mix of English and Spanish. But since dreams are frequently rooted in preverbal consciousness, the players are mostly silent during this hour-long entertainment. Under Sandra Marquez’s direction, the ensemble weaves its tapestry of images through dancelike movement more eloquent than words, futher enhanced by composer John Kamys and sound designer Mikhail Fiksel’s witty musical score.