What do you get when you cross a classic 1968 sci-fi masterpiece with a kitchen pantry? Apparently, a revolution. Planet of the Grapes, the latest production from performer and educator Peter Michael Marino, is currently making its world premiere at the Edinburgh Fringe, bringing a masterclass in miniature storytelling to the Pleasance Courtyard.
For those of us who spend our time at the table pushing miniatures around a grid, Marino’s work hits a familiar nerve. It is a live-action, physical manifestation of the solo RPG experience: a high-stakes, narrative-driven game played out on a tabletop surface, where the “rules” are dictated by the constraints of the board and plot book. I caught up with Marino to see how he translated a digital lockdown experiment into a fully-fledged, interactive Fringe hit.
Planet of the Grapes originally found its footing as an online, digital toy theatre performance born out of lockdown restrictions. How does adapting this miniature, camera-focused kitchen setup into a physical, live stage play at the Edinburgh Fringe change the interactive relationship with a live audience?
There was zero interaction with the audience for the lockdown shows because they were presented on YouTube Live, not Zoom. There was something slightly unsatisfying about that for me as a performer—not hearing laughs or gauging reactions. When deep-diving into the history of toy theatre for this stage version, I was struck by how many performers often stepped “outside” the small stage, specifically to involve or address the audience.
My director, Michole Biancosino, and I went back and forth about whether we should employ those methods for this live version—and I’m so glad we did. Slowly, we added more activity happening around the cutting-board stage, which led to bringing another performer, Cecilia Arana, into the mix. This led to discoveries about how the audience could physically and vocally be a part of the show. Before we knew it, we had an immersive and interactive show, which is a hallmark for my work. It’s much more gratifying to have the audience be a part of the show without ever forcing anyone to participate.
You discovered that Rod Serling’s early screenplay drafts and Pierre Boulle’s original novel aligned perfectly with modern societal issues. Why do you think a cast of literal grapes and corks is an effective medium to explore heavy themes like class systems and religious dogma without losing the family-friendly fun?
I mean, if you’re trying to make statements about class systems, environmental concerns, sexism, and science versus dogma, isn’t it all more palatable using rubber grapes and corks as the medium for the message? We actually never set out to create a “family show” or “children’s theatre”—even though I work in that world as a performer and educator. The themes are there in the novel and film, and I just boosted them for this show.
I’m not sure if younger kids really get those themes, but even if they absorb some of the messages, then we’ve done our job. If they didn’t, they still get to experience a somewhat lost art form and a style of puppetry they probably haven’t had much exposure to. So, while we say it’s not a “kid’s show,” it’s 100% fine for kids—the way Star Wars is. We were happily surprised to learn from the NYC run that the show really resonates with 20-somethings and teens. Even a 5-year-old loved it. We never expected that.
Toy theatre relies heavily on tiny components, cardboard prosceniums, and everyday household items. In what way did you map out the spatial mechanics of this miniature tabletop world so that the visual storytelling remains clear and engaging for a full theatre room?
I practically redesigned the whole visual world of the digital show for this live version. Online, details were very important since the camera captured only the playing area. For the live version, we have the cutting-board stage plus all the stage space around it. I needed to create sets and backdrops that help the audience laser-focus on a small stage. I had to make sure nothing was “muddy.” I played around with perspective, colour, and materials (shiny materials equal glare—no good). So, I simplified the backdrops to allow the characters to “pop” and added much more detail and colour to the tiny characters so they’re easily identifiable from the back row.
At the opera a few weeks ago, a friend who saw …Grapes noted how the singers on a massive opera stage were basically the same size to us in the back row as our grapes are to someone in the back row of our theatre. You can still identify and follow who’s who because of the scenic elements, costumes, staging movements, practical lighting, and even their voices. The audience learns the world of the show slowly, the way someone experiencing Shakespeare for the first time adapts to the language. By the time we get to the darker scenes, like a blacklight-neon cave scene, the audience’s ears are trained to listen like a radio play. Have no fear! You’ll be able to see everything you need to see—and probably some things we intend for you not to.
Tabletop storytelling requires a distinct sense of pacing. How did you and Michole Biancosino design the physical constraints of a cutting-board stage to balance chaotic comedy with the dramatic tension of the original sci-fi story?
Luckily, the plot lends itself to episodic storytelling. We keep every scene under 5 minutes. This aligns with traditional toy theatre methods where shorter scenes worked better. Serving it up in small bites makes it all much more digestible. The action often spills off the small stage and into the area around it, which is where we mine more comedy and physical theatre elements. There are also elements of clown in the performance from both myself and Cecilia Arana—who serves as the bridge between the stage and the house. Plus, we added a 1-minute “intermission” to give the audience a moment to breathe. To be fair, we performers need that break, too!
There is a growing fascination with physical, analogue storytelling across the hobby space, from solo TTRPGs to miniature wargaming. Why do you think audiences are craving these tactile experiences in an era dominated by digital media?
I think theatre is changing and adapting because we are in an era dominated by digital media. Look at Cats: The Jellicle Ball or Every Brilliant Thing on Broadway—both popular, immersive, interactive shows. I think these are popular because of the novelty of interaction. Maybe it’s a result of the pandemic? Maybe it’s the relentless solitude of doom-scrolling? Maybe it’s that people don’t pick up the phone and call people as much, or fewer are going out to bars because a night with Netflix is easier and cheaper? I don’t know. But I do know if you want to get someone off the couch, you have to offer something special.
You’ve spent a significant part of your career working with the NYC Kids Project to advocate for inclusion. How did your background in educational puppetry shape your approach to making a sci-fi parody about prejudice accessible to younger audiences?
Honestly, my family shows never talk down to the audience based on their age. When I created “Show Up, Kids!”, it was written with parents and guardians in mind. If a kid sees their guardian enjoying the show, they’ll enjoy the show even more. If that makes sense. When I created kid’s shows and videos for The Kennedy Center and Washington National Opera, I just wrote what would be entertaining to me – with an educational element of course. It sorta comes naturally. I think like an 8-year old. Always have. Not sure if that’s problematic, really! My work tends to be absurdist and silly in some way – but the stakes are always high. I try to create work where the audience is rooting for the characters to “win.” And kids tend to want characters to win. To succeed. To get what they want. Like the characters in nearly every fairy tale. I wish I could explain the science behind how my work appeals kids, but maybe it’s better not to know.
Moving a production from a solo apartment project to an international stage is a significant shift. What does a successful run at the Pleasance look like to you?
A successful run would be knowing that it made people forget about the real world for an hour. And that the show inspires them to be creative, to be silly, and to look at things from a different angle. I want the audience to feel connected to the art and to each other. I enjoy bringing people together.
For people heading to Edinburgh this August who want to explore more of this miniature, hand-crafted style, what other creators would you recommend?
I’m looking forward to “Tiny Planet” which also explores how we can sometimes feel both small and infinitely gigantic. SeedHeart looks cool – it comes out of a suitcase and the hero is discovered in a jar. High on my list is ArounD the WorlD in 80 ToyS, which uses cameras, screens, miniatures and magic. And Italo Calvino’s Invisible Cities: A Toy Theater Atlas which has puppetry, paper mechanics and living sculpture – and which I loved seeing in NYC. And definitely “Kevin!!!!!” – another NYC show, that uses a miniature house and cameras to parody “Home Alone.” I just hope I can fit them all in!
Planet of the Grapes runs at Below at Pleasance Courtyard until 30 August. If you’re looking for a midday Fringe show that blends technical ingenuity with sharp, satirical sci-fi, it’s a refreshing break from the usual stand-up circuit.
Quick Links
- Tickets are available via the Pleasance website.
