REVIEW: It Came From Mars

Performance Network Theatre

From the New Monitor

Mars captures spirit of 1938

By Daniel Skora

Before it was designated Angel's Night in an effort to curb what had become vandalism run amuck, October 30, the Eve of Halloween, was known as Devil's Night. It was a night with a tradition of pranks and boyish mischief, the tipping over of a garbage can or two and the smearing of windows with eggs or tomatoes. On the Halloween Eve of 1938, an enterprising young man of 23, who would later become a giant in film, theater and television, engaged in a bit of mischief of his own.

Orson Welles, along with his conveniently named troupe known as the "Mercury Theatre on the Air" actors, broadcast a show which recreated science fiction writer H.G. Wells' classic novel The War of the Worlds. Done as if the show were actual news reporting, it purported to relate events surrounding the sighting of mysterious objects from space landing on our planet.

The object that lands in a farmer's field near Grovers Mill, New Jersey, is believed to be a machine from Mars, and when tentacled tripods rise from the object propelling heat rays and deadly gas, panic ensues.

It is in the context of this broadcast that the hilarious comedy It Came From Mars, currently being presented by the Performance Network Theatre in Ann Arbor, takes place.

Quentin Farlowe (Wayne David Parker), after a less than stellar acting career, has become a radioman much like Orson Welles. Writer, producer, on-air voice, he is gathered the very night of Welles' broadcast with his own troupe of actors in the studios of WHQN, New York. They have assembled to rehearse a script that Farlowe hopes will convince the station's cash-strapped owners to continue carrying his show.

Present among the group are: George Loomis (Joseph Albright) actor and war veteran; Dolores Breckinridge (Alysia Kolascz) a flighty ingenue; Werner Kreilig (Jacob Hodgson), a sound effects expert recently immigrated from Germany; Julia Crane (Sandra Birch), seasoned actress and Farlowe's ex-wife; and Maud Myrtles (Morgan Chard), receptionist and all-around gofer.

As the rehearsal gets underway, news of the Martian invasion comes in over the radio. In their panic over the attack, everyone begins throwing furniture against the doors in an effort to protect themselves from the invaders. But all are keenly aware of the fact they might not live to see tomorrow, so as the barricade goes up, inhibitions come down, and feelings and emotions that have long been suppressed are given free expression.

Playwright Joseph Zettelmaier knows how to blend characterization with some of the zaniest ensemble comedy seen in these parts for quite a while. And his script manages to cover lots of territory.

First and foremost, it runs true to Welles' War of the Worlds legacy, accurately portraying the panic that gripped hundreds of thousands of listeners who were unaware that the broadcast was merely a theatrical presentation. In the tension between George and Werner, the play zeros in on the anti-German sentiment that gripped the U.S. in the years leading up to the Second World War.

Rather astutely, Zettelmaier mixes into his story the makings of a romantic comedy, which he does times two. And, especially, he delivers laugh-out-loud comedy that sustained so much applause from the appreciative audience on opening night that it brought back the cast for a second curtain call.

Director Tony Caselli begins with a cast of talented players from whom he elicits sharp, crisp dialogue. After the first act setup, he keeps the action moving frantically yet fluidly through the second.

Scenic design of the 1930s studio is by Janine Woods Thoma. The art deco style radio used in the show is from a time when radios had real personality.

Lighting is by Daniel C. Walker, costumes by Sally L. Converse-Doucette.

SHOW DETAILS:

It Came From Mars is a world premier and a recipient of the Edgerton Foundation New American Play award. It is also a co-production with Williamston Theatre. The show runs through March 21. For tickets and information, call 734-663-0681 or go online to www.performancenetwork.org. The Performance Network Theatre is located in downtown Ann Arbor at 120 E. Huron Street. For those close to Detroit proper, it's absolutely worth the drive.

Reprinted with permission of the New Monitor, March 4, 2010

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