WATERTOWN, New York (WWNY)

The Thousand Islands Playhouse production of Mary’s Wedding is intimate, sparse, short and very moving. Kudos to TIP, who have just released their biggest box office hit, the hugely popular musical Mamma Mia. Mamma Mia was a big production with a huge cast, Mary’s Wedding is a 90-minute two-person play with a set – and Joe Pagnan’s set is like a beautiful visual poem. It’s functional yet beautiful.

The year is 1914 in a prairie town in Canada, and the world is on the brink of war. Mary and Charlie meet and fall in love, but they will never have the chance to truly fall in love or say the three words “I love you” before Charlie volunteers to fight overseas. Their courtship unfolds over a series of fluid scenes in a barn, a dance hall, a roadside, a field. The affection the two lovers feel for each other only intensifies as they become painfully estranged from one another by Charlie’s service at the front.

Written letters intersect with scenes of memory and real-time scenes from the trenches and Mary’s house; from Europe back to Canada. Dreams and reveries are a complex and fascinating element of achronological storytelling. After all, when we think about our first love, it often feels like a dream. Maev Beaty, as Mary, brings tremendous authenticity and realism to a pragmatic woman whose practical disposition slowly disappears as she succumbs to the charms of Charile (Wade Bogert-O’Brien). Bogert-O’Brien, with his easygoing charm, exuberant optimism and unwavering patriotism, is a natural counterpart to Beaty. Opposites attract, especially in first love, when young lovers must contend with intense feelings and obstacles.

The power of this theatrical experience comes from its elliptical storytelling and amazing fusion of naturalism with magical theatricality. Talented playwright Stephen Massicotte effortlessly uses all the tools of theatrical storytelling, engaging you early and deeply. Two-person plays are challenging, but Brett Christopher does a great job of maintaining tension and interest throughout, without falling into authentic flourishes or overly busy compositions. The entire production is beautiful with superb design elements, particularly Jeff Pybus’ lighting design and Richard Feren’s sound design.

Currently until September 8

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