While the set was impressive and the cast (mostly) capable, these couldn’t compensate for the deficiencies in the script of Mars Untitled. The set, divided into three sections, was an elaborate and thoughtfully considered recreation of the Mars Desert Research Station in Utah (a simulation of the Martian landscape, which could one day become a reality for the human race, apparently).The play relied heavily on live video feeds and editing software; at first I was impressed by the technical prowess of the production team, but later on in the performance some of the screeching sound effects left me reaching for the aspirin.
As I said, the actors were mostly good and played their soap opera characters with as much energy as the anemic script would allow. However, the constant hair-swishing of Dorka Gryllus began to grate after a while, and it soon became clear that her performance was based upon her sex appeal and very little else. It was a less experienced actress, April Sweeney, as the scientist, who was the strongest link, with an impressive stage presence and a subtlety which set her apart from the others.
Hungarian subtitles played on two TV screens throughout the performance and I thought it would have been kind to use these to offer some explanation as to why there was a woman on stage wearing green make-up, oversized gloves and a giant lizard tail.
The paper-thin plot revolved around infidelity, water (the lack of), a real-estate villain and a notion that there may be a link between clairvoyance and schizophrenia. Scientifically, I could see what Jay Scheib was trying to achieve in his script but I couldn’t help wondering whether scientists would praise his efforts or think the performance a mockery of science? That said, a play is just that, a play, and shouldn’t be written for a specific sector of society. There are textbooks for that. However, what a play does need to be is engaging. Sadly, my only engagement was with the studio’s lit Exit sign.
Joanna Singleton
Mars Untitled was shown on November 29th at the National Theater as part of Budapest’s Contemporary Drama Festival.
