“Every part of this ingenious miniaturized trip to Mars is shot through with strangeness”
Mary, Chris, Mars presented by the Trunk Theatre Project as part of the Korean Showcase at Edinburgh this year, is an enchanting children’s show. It consists of four performers, three actors and one musician, and a blend of miniature set design and puppetry that will intrigue adults and kids alike. The show is performed in alternating Korean and English, but the quality of the performance skills and the visual elements is uncommonly high. No one will have trouble understanding the story, or the charming pun that gives this show its title.
As Mary, Chris, Mars begins, live music performed by Hahjungki Baek and Jinho Park set the mood. There is an overhead projector on stage, a screen and a mysterious suitcase which opens to show lights representing the planets of our solar system, and the stars. There is a red light, which represents Mars. Mary, played by Yeeun Cho (who also writes and directs) is on a rocket, orbiting the Earth. All this information is presented on screen, via the overhead projector. Mary’s dilemma is that she is bored, and has no friends to share the beauty of what she is seeing from her space ship. It’s also Christmas. (Cue Christmas music.) When a mysterious stranger arrives (Chris, played by Wonjun Ryu), and signals from his space ship that he has run out of fuel, Mary goes to the rescue. After many adventures, the two new friends arrive on Mars (played by Hyeon Park), refuel, and celebrate Christmas together. Mary, Chris, Mars, everyone!
Mary, Chris, Mars is a perfect child sized view of the universe. It reveals itself in the suitcase; the transparent umbrella that opens to display a mobile of planets circling around, and so many other whimsical, yet brilliantly designed features that illustrate this simple tale. Straightforward it might seem at first glance, but the whole show has a quirky sophistication that will appeal to the most experienced theatre goer. Each moment is a revelation — from the gloves that turn into hand puppets bouncing through Martian gravity, to the actor’s body that becomes a spaceship. The actors create their universe the way children do — by picking up everyday things around them — and transforming them into the engines of their imaginations.
It’s a bit of extra work to keep track of the constant switching between English and Korean, but it’s very appropriate. Every part of this ingenious miniaturized trip to Mars is shot through with strangeness. Seeing Mary, Chris, Mars through the lens of two very different languages gives the story a deeper significance that one alone could not provide. Mary, Chris, Mars is the most surreal space trip you will ever take. Like all memorable trips, it leaves you with images you won’t forget. Mary, Chris, Mars is also quality theatre. Here’s hoping we get to see more work from the Trunk Theatre Project in the future.
Reviewed 9th August 2022
by Dominica Plummer
Photography by Sein Park
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“Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
There’s a backline of oversized speakers, on which the cast and musicians sway to the beat while Bob Marley bounces downstage to take the microphone. Over the vamping, pulsating music, Marley introduces the cast members, inviting applause for each name check. We are definitely in gig territory here – not one of the oldest, most elaborate West End theatres. A sensation reinforced by the stripped back narrative that follows. The music is key. But like with Marley himself, it serves the purpose of getting the message across in ways that mere words cannot achieve.
David Albury bears a striking resemblance, physically and vocally. He is the alternate Bob Marley, but the role seems to have been written for him alone as he takes us on the journey of one of the most popular, yet most misunderstood, musicians in modern culture. Marley has achieved immortality, but some argue that his image is commercialised and diluted. “Get Up Stand Up!” gives us a glimpse of the real deal. The ghetto kid who believed in freedom. And fought for it. The convert to Rastafari. The kid sent away by his mother to Kingston for a better life. The ambassador of love, loss and redemption. The victim of an assassination attempt who headlined the ‘One Love’ Peace Concert in 1978, receiving the United Nations Peace Medal of the Third World. The cancer victim. But we also catch sight of the misogyny, the carelessness and self-absorption that affected those closest to him – namely his wife, Rita (Gabrielle Brooks), and long-term girlfriend, Cindy Breakspeare (Shanay Holmes).
The most revealing and poignant moments of the evening are provided by Brooks and Holmes. Hearing Marley’s words resonate from these two formidable women’s voices adds layers of compassion, tenderness, and bitterness. Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
Marley’s somewhat questionable attitude towards women is certainly thrown into the spotlight, and while writer Lee Hall tries to mitigate by highlighting Marley’s ‘marriage to the band’, we never really get a sense of what makes him tick. As mentioned, we do only get the broad outlines. The dialogue between the numbers does tend to assume we know so much already. But with such a wealth of material that’s probably a necessity, and it does spur us on to do our own homework. In the meantime, we can relish in the sheer energy of Clint Dyer’s production. It is a jukebox musical that never feels like one. Marley’s songs are the soundtrack to his life, so obviously make the perfect soundtrack to this sweeping panoramic vision of a visionary artist. Dyer races through the story, but occasionally stops the track to zoom in and focus on particular moments. Marley watches his younger self (brilliantly played by Maxwell Cole) leave the family home, while later on the young Marley stands by to witness his older self receive his cancer diagnosis.
These moments of unconventionality never detract from the ‘concert’ feel of the show. And, after all, it is the songs that tell the story. Shelley Maxwell’s choreography is stunning but, with an eye on a West End audience, occasionally mismatched to the material. But the roots are still there, just as Marley stayed true to his own roots even when Chris Blackwell of Island Records (Henry Faber) sensed a need to reach out to the predominantly white, British audience in the 1970s.
The set list is comprehensive, including lesser known, more lyrically challenging numbers along with the signature tunes we know and love. As the evening slows down to a plaintively acoustic “Redemption Song” we see the intoxicating mix of the gentle and the explosive that coexisted within Marley’s spirit. And his spirit is in full attendance throughout the night. The crowd can’t fail to follow the command of “Get Up Stand Up” during the rousing encore.
