Scenes From Mars One: With 68% Less Gravity

Scenes From Mars One: Now With 68% Less Gravity!. Mars One Productions’ Scenes From Mars One is an irreverent spoof of disastrous theatrical experiences. A depressed director puts on a never-before-produced show, written by his former mentor, Baron Von Krankenstool. “Mars One,” a science fiction work, could qualify as the longest theatrical event ever written. But the director decides to abbreviate the story to an hour — so it can be shown at the San Diego Fringe Festival.

A play within the play revolves around a former romantic couple who decide to take a one-way trip to Mars. For several scenes it focuses on the astronauts’ ability to work together through perilous situations.

The real conflict, however, happens when “Mars One” soon falls apart. The fourth wall is broken frequently: the director suffers a nervous breakdown, a heckler boos the artists, and an actress from a strange Hamlet interpretation finds herself in the wrong theater.

The advertisements suggest 13 intermissions; there aren’t that many, but several exist. This recurring gag may amuse certain spectators, but others might be confused by the purpose of brief breaks.

Do not expect highbrow entertainment. Nothing is off limits, with several jokes referencing pedophilia and cat cancer.

Having a short running time allows the offbeat comedy not to overstay its welcome. The script is an extended practical joke made possible by the Fringe Festival.

Los Dorados (The Golden Ones). Commedia dell-arte rarely plays in San Diego, so anyone who appreciates masked comedies should seek out the latest from Teatro Mascara Magica.

Set in the 1600s, Spanish men, led by Captain Coronado, explore San Diego. They hope to convert local Kumeyaay women to Christianity and rule over them. They don’t realize that the people they encounter have no interest in listening to the potentially dangerous males.

Chicano playwright Carlos Morton’s script follows the style of Commedia with colorful masks and comic relief, but his intentions are not simply to pay homage to the popular style.

Co-directors Bill Virchis and Bryant Hernandez open with a joyful mood. They mix physical slapstick with numerous references to “America’s Finest City.” The rousing music includes a playful rendition of “California Here I Come.”

Beneath the upbeat vibe are serious issues about forcing people to embrace different beliefs and values.

Coronado and his associates are cocky and delusional in their attempts to appear superior. Conversely, the women are strong and do not want to give up their Kumeyaay culture.

Morton’s slyly funny writing takes an abrupt turn after a padre, following Coronado, commits a horrendous deed. Once the incident happens, the later scenes become heavier and more puzzling. But despite the flaw, the staging is a topical satire commenting on the consequences of a changing society.