I recently had the opportunity to go and take in a little theater. The name of the show was Mary’s Wedding by Stephen Massicotte and I went in with very few expectations. I’d never heard of the play and the description didn’t tell me much beyond it being set around World War I and the two actors portrayed a young couple in love. It didn’t exactly inspire confidence. I had confidence in the group producing the show, all for One Productions doesn’t go for saccharine stories after all, but I sat down in the theater with some reservations.
I needn’t have worried.
Before we break down the story itself let me say a few words of praise for the production itself. First, the cast of Jessica Munsie (Mary, Flowers) and Cooper Beer (Charlie) did fantastic work. Their performances were sincere, emotive and engaging. They studied horseback riding to add authenticity to some of their scenes and it showed. They had great chemistry with each other and the audience. The set was also perfect, built in two layers and full of props used in surprising and interesting ways. From the use of wheeled railings as doors and horses to the upper level’s many duties as hills, bridges and the deck of a ship, the minimalist set did everything it needed to and more without ever straining belief.
Many people say seeing how a trick is done makes one appreciate it less. Mary’s Wedding is the kind of show that convinces me that the opposite is true. I caught a dozen little flourishes, like the causal setting of a hat on a platform as an actor walks around behind the stage, that speak to the practice, dedication and proficiency both actors developed while preparing for the show. It made me enjoy the performance more and not less. Well done, one and all.
Now for the story itself. Mary’s Wedding focuses on the titular Mary as she dreams on the eve of her wedding. We are introduced to this dream by one of its chief figures: her sweetheart, Charlie. He tells us we are seeing a dream, and as it is a dream we must understand it follows its own logic and its own sense of time. It’s a great opening soliloquy, drawing from concepts we often see in Shakespeare and intended to lull the audience into the theater of the mind. Many plays do this, in one way or another, because the sets and costumes may be great but we know, deep down, they’re not real and the illusion of the stage is not as powerful as, say, that of the movie screen.
A good storyteller knows how to weave the spell that creates this illusion of reality for audience and sometimes that’s as simple as asking them to step into the narrative with us. It’s a bold approach, and Massicotte deserves props for taking it. I know it worked for me.
From this simple introduction a clap of thunder snaps us into the narrative itself – Charlie, seeking shelter from a thunderstorm and Mary calling out to him. This ominous opening gives way to Mary and Charlie’s first meeting, as they both hide from the rain in a barn. Mary is recently arrived in Canada from England, Charlie is a longtime resident of the area so they’ve never had opportunity to meet before. Mary helps Charlie overcome his fear of the thunder by coaxing him to recite poetry. Charlie only knows The Charge of the Light Brigade so that is what he quotes.
This is when I realized this story didn’t have a happy ending.
The dire stanzas of Tennyson’s poem weave throughout the play, a simple foreshadowing for a simple man. Charlie is like the cavaliers Tennyson describes – fixated on his duties and carrying them out. He knows things could end badly for him, but he presses forward regardless. This is contrasted with the poem Mary cites as something she has no wish to live out: The Lady of Shalott.
Subtlety, thy name is Stephen.
All joking aside, these simple allusions give Mary’s Wedding a chance to weave these grandiose and romantic notions of duty and heartbreak into a very simple romance story. Mary and Charlie are from different worlds and different social standings but they fall in love. We see their relationship as it struggles to survive awkward meetings in the town streets, flubbed meetings with families and ultimately Charlie’s decision to join up and fight in the Great War in 1914. Interspersed with stories of the growing romance are stories of Charlie’s time in Europe, told to Mary through letters he sends home from the front.
Both aspects are told in a blunt and straightforward way. This is not a Hollywood romance or war movie. Much of the pretense of such stories are stripped away, with Massicotte focusing on very realistic dialog and motivations for his characters. Charlie’s letters home sound very much like those I’ve read in compilations of first-hand accounts from any number of wars from the present day back to the American Civil War. Mary and Charlie’s relationship is free of flowery promises or generic statements of affection.
Many stories could be fairly criticized for trying to characterize their protagonists using well know works of literature. But, while Massicotte is doing that in his script, he is also doing something a little more complicated than that. He is showing his characters use these poems to try and express themselves to each other. The Charge of the Light Brigade grapples with many philosophical questions that people think about but rarely try to articulate to each other. When forced to explain the horns of a dilemma like that which Tennyson describes, the average person will fail to put their thoughts into their own words. So, they turn to the poets.
It is this, I think, that makes Mary’s Wedding work. It shows us simple, everyday people as they put their hand to every tool at their disposal to connect with each other and share their struggles. It’s an impressive achievement.
The portrayal of Flowers, Charlie’s commanding officer during his time in Europe, is another fascinating device. Flowers is portrayed by the same actress who plays Mary. When Flowers and Charlie first meet Charlie is on the troop ship headed to Europe, smoking while watching the ocean at night. Flowers finds him and asks what he’s thinking about, to which Charlie admits he’s thinking about a girl back home. Flowers warns him not to do that, or soon enough he’ll be seeing her everywhere – which, of course, he already is. The close friendship the two develop is illuminating and powerful, and Jessica Munsie’s portrayal of Flowers was so excellent that I never confused her with Mary in my mind. It provides us a look at another side of Charlie, one we need to really appreciate before the story concludes or the conclusion will not be as powerful as it should be.
Ultimately, Charlie never comes home.
Charlie only lives in the dream, now, and soon enough Mary must wake up and continue on with her life. Her wedding day is coming. There is still a good life ahead of her, even with all the grief and regret that came from her parting with Charlie. That is the promise at the end of Mary’s Wedding. It’s a bittersweet ending, but the only ending their story could possibly have had. The thunder we heard at the beginning of the story is quiet now, and the rains have left poppies in their wake. And just like Mary, we must wake from the dream on that stage and leave Mary, Charlie and Flowers behind.
As nearly as I can tell, while many of the events in Mary’s Wedding actually happened, Charlie and Mary were not real. Their story was a dream we shared for a moment. But we can carry that simple dream with us in our waking lives, a reminder that the peace we have was bought at great sacrifice. A reminder that after loss we can still carry on. Those simple messages are a powerful gift, and one I am grateful to have.