It’s so easy to ignore the homeless people that line the periphery of routine journeys and forget they are just as human as the rest of us, with passions, fears and often troubled pasts. The Marked puts homeless young man Jack at the centre of a desolate, urban landscape populated with pigeons, people who move him on and demons from his past. Masks and puppetry add a richness to his story, but not always warmth. In most of Jack’s encounters, be they real or in his head, he is believably under threat.
Peter Morton’s puppets are sweet and whimsical, with Jack’s pigeon companion being particularly lovely and with an excellent range of movement. Jack as a child has a sadness to him, emphasised further by familial alcoholism that we can assume eventually drives him away from home.
Grotesque masks by Grafted Cede Theatre are skilfully used to differentiate between fantasy and reality, with the haunted, oversized faces ever in the back of Jack’s eyes. Zahra Mansouri’s costumes make these figures larger than life and all the more threatening, rendering Jack helpless in their presence and the audience to empathise.
Devised by the cast of three and presumably with the support of director Allin Conant, the spoken text centres around Jack’s encounters with a homeless couple, Pete and Sophie. Here is where the show falls short: the potential for conflict and tenderness amongst the three isn’t fully realised due to too few, underwritten scenes. Though these human characters ground Jack in reality somewhat, there is also little focus on the dichotomy of reality vs. demons. There is real potential for a fight for Jack’s life or sanity between the two forces, but the script doesn’t capture as much of Jack’s struggle as it could.
Visually, this is a wonderful production that makes some powerful points on the mental health of homeless people. Jack becomes a fully realised person through the creatures that haunt him, but his encounters with other humans don’t do him full justice.
The Marked tours nationally through 2017.
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