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It's Jacobi who anchors the production and gives it considerable gravitas. There's a solid supporting cast as well. Atwell wonderfully portrays Spender's awe at what the Martian's have accomplished as well as both incomprehension and fury at how her fellow humans are acting. The supporting cast also includes performances from Mark Lewis Jones as the scientist Hathaway, John Altman as the pigheaded Parkhill and Melissa Aston-Munslow in a small but important role at the end.
It's a solid cast and one that brings the tale to life splendidly. Hats off as well to the production values. Alister Lock, whose sound design has populated many a Big Finish production, creates a dynamic soundscape that brings to life not just Bradbury's Mars but also various spaceships, as well as other varying locations in the sonic equivalent of the "glorious Technicolor" of olden days, from canals to vast cities and vast landscapes. The music of Imran Ahmad adds an additional layer to the production, coming in at just the right moment to make everything else pack that much more of a punch.
Compliments as well to director Andrew Mark Sewell as well for a superb production overall.
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My greatest compliment though may well go to the script. Writers Richard Kurti and Bev Doyle certainly had their work cut out for them. The book is a sweeping though quite episodic tale spanning decades of future history. Kurti and Doyle had an even bigger challenge in condensing down into a mere hour. Thankfully they proved more than up to the task, creating what can perhaps be best termed a loose adaptation in that it draws on elements from across several stories in the book. While changes are made, such as making Spender female and reducing the number of characters introduced, the production retains much of the flavor of the stories it draws upon.
Plot Summary of the Novel
Where the script is especially successful is in both updating Bradbury's original stories for a more modern audience and bringing out the elements that are as relevant today as they were decades ago. The questions that are raised about colonization, commercialization, and indeed about human nature itself are just as thought provoking now as they were then.
So while it might not be a blow by blow recreation, it certainly proves the timelessness of Bradbury's vision. This production of The Martian Chronicles comes highly recommended. It's a tale as relevant now as when it was first printed, and one that has been brought to life superbly by cast and crew alike.
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It captures the flavor and world that Ray Bradbury created without bring slavishly faithful to it. The result is a rich, entertaining and thought provoking hour of audio drama that isn't to be missed. Jerry Robbins and the multi-talented team at The Colonial Radio Theatre On The Air really hit it out of the ballpark with this utterly faithful and marvelously brilliant full-length audio adaptation of Ray Bradbury's classic science fiction novel of a doomed humanity seeking to colonize Mars. Jerry and the Colonial Radio Players effortlessly bring Bradbury's interlocking short stories of the painfully flawed human beings who first land to explore Mars on the first few doomed expeditions and later the colonists who seek a refuge from the battered extremes of an Earth heading towards atomic war.
There is also the heartbreak of parents who lose their precious son again despite a Martian's kindness. There is also a disturbing and haunting parable of how political correctness destroys the best of human creativity. Bradbury is perhaps the greatest humanist Science Fiction has produced to date; and Jerry and the Colonial Radio Players with a faithful, flawless brilliance capture Bradbury's Mars and brings it to vivid life upon the imagination's ear.
Since its publication more than sixty years ago, Ray Bradbury's The Martian Chronicles has been a seminal work of literary science fiction. It has spawned a number of adaptations for radio, stage and screen. Reading the book, it isn't hard to see why that it is thanks to a combination of imagination and Bradbury's almost poetic prose. It's worth noting that like Asimov's I, Robot this isn't really a novel so much as short story anthology that is built around a series of short stories written in the late s.
Beginning with the launch of a space mission that briefly turns winter to summer, Bradbury takes the reader to the red planet through a series of tales that introduces a number of different characters, both humans and Martians, and takes them on a sweeping though quite episodic journey through decades of future history. What the years are will differ depending on which edition you happen to be reading in some, in others but they the tales and the story that tell is the same one.
There's a larger narrative in place that tells the story of Martian colonization but with only a couple of exceptions, characters rarely reappear in more than one story. If one can accept the almost anthology nature of Bradbury's narrative, there's plenty to enjoy here. Bradbury's Mars is very different from the planet that we've come to know thanks to decades of space probes with a civilization, canals and an atmosphere that seems largely breathable to humans.
Many of the social norms and morality of the period are also present in many of the stories with characters smoking shortly upon arrival on Mars and small towns more reminiscent of those of oft re-run s TV shows than anything likely to be founded on Mars one day. The threat of a nuclear apocalypse hangs over much of the book as well, something which may serve to date it for some readers.
Yet that's just window dressing really. Indeed, while elements of the various stories can almost be quaint at times, Bradbury's tales can at times be as relevant today as they were decades ago. Stories such as —And the Moon Be Still as Bright, The Off Season and many of the stories in the early and middle parts of the book deal with the themes of colonization and commercialization especially. Other tales deal with prejudice both on Earth and Mars while others draw parallels between immigrants to Mars and immigrants in the past The Wilderness while others draw parallels with some of Bradbury's later and best known works Usher II for example.
All of the tales are interesting and well told no matter how long or short they are. Above all else, there is an almost poetic beauty to the tales. Now matter how quaint they may seem, Bradbury's prose shines through. From tales of an unlikely encounter in the desert Night Meeting to a brief look as colonists watch events playing out on a far away Earth The Watchers or the haunting nature of the last two stories in the volume There Will Come Soft Rains and The Million-Year Picnic , Bradbury brings the different characters and settings of the tales come to life sometimes vividly and sometimes with spare but effect choices of words.
It's a master class of good writing in any genre. Despite its age and some occasional moments of dated quaintness, The Martian Chronicles continues to be just as readable today as it was decades ago.
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While it presents a vision of a Mars that doesn't exist, the combination of imaginative tales told well in a sweeping narrative remains engrossing and fascinating with its timeless tales of colonization, commercialization, and indeed the power of human nature for both good and ill. The result is a rich, entertaining and thought provoking read that has become a timeless classic and a must read even today. And The Martian Chronicle does indeed manifest the poetics of science fiction. On the other hand, the The Martian Chronicles sounds like a post-modern mythology. And that is what make the stories eternal: "myth, seen in mirrors, incapable of being touched, stays on" to quote the author.
I have not much to say but praise the literary value of the book.
Yet the 5 star rating is only for the literary merit of the book and not the censored reprint a crucial drawback indeed as the new editions of the book lacks one of the episodes namely "Way in the Middle of the Air", as one can read in the older versions. The episode has been removed by the new publishers altogether! However, a summary of each episode can be found in Wikipedia including that of the eliminated episode which specifically deals with racial prejudices and ironically that is the very reason that it has been kicked out by the brilliant new publishers not to offend certain readers in the commercial market!
Samuel Teece, a racist white man, decries their departure as a flood of African Americans passes his hardware store. He tries to stop one man, Belter, from leaving due to an old debt, but others quickly take up a collection on his behalf to pay it off. Next he tries to detain Silly, a younger man who works for him, saying that he signed a contract and must honor it. As Silly protests, claiming that he never signed it, Teece's grandfather volunteers to take his place.
Several of Teece's friends stand up to him and intimidate him into letting Silly depart. As Silly drives off, he yells to Teece, "What you goin' to do nights? The enraged Teece and his grandfather give chase in their car, but soon find the road cluttered with the discarded belongings of the rocket passengers. After they return to the hardware store, Teece refuses to watch as the rockets lift off. Wondering how he and his friends will spend their nights from now on, he takes a small triumph in the fact that Silly always addressed him as "Mister" even as he was leaving.
This episode is a depiction of racial prejudice in America. Written as short stories for magazines in the late s and pulled together with a series of linking pieces for publication in book form in , the book is set around the turn of the millennium, when man is beginning to colonise Mars.
But a very different Mars from the one we know today — this one is populated by intelligent beings who seem fairly human in some ways, but have telepathic powers that mean that some of them can sense the approach of the men from Earth. The book is very episodic in nature though it does have a clear underlying timeline. While the human side of the story is populated with consistently '40s characters, the Martian side evolves and changes as the book progresses, meaning that it never becomes a fully realised world in the sense of most fantasy novels.
Instead, the stories are fundamentally about humanity and it seems as if Bradbury creates Mars and the Martians anew each time to fit the story he wants to tell. This gives a kind of dream-like, almost surreal, quality, especially to the later stories.
The first few episodes tell of the first astronauts arriving on the planet. There are fairly clear parallels here with the arrival of the first settlers to America, with the misunderstandings and tragedies that happen between the races. As happened there, after a few setbacks the incoming race becomes the dominant one, with the Martians proving unable to resist the new diseases the humans have brought to their world.
At this early stage, the stories are quite interesting but I was wondering why the book had acquired such a reputation as a sci-fi classic.
The science is pretty much non-existent, and there is very little fantasy beyond the basic premise of what can be done with telepathy. Bradbury's Mars is Earth-like in its atmosphere and requires little or no alteration to make it habitable, and the humans have simply transported their recognisably s world to a new place.
However, as the stories progress, Bradbury allows his imagination to take full flight and some of the later stories are beautifully written fantasies with more than a little philosophical edge. There is the usual midth century obsession with approaching nuclear holocaust on Earth, but Bradbury widens it out, using the isolation of the Mars colonists to examine human frailties and concerns more broadly.
Loneliness features in more than one story, with the contrasting sense of community and nostalgia that first drives people to make their new homes as like their old ones as they can, and then calls them back home to be with those they left behind when Earth is finally ravaged by the inevitable war. There is a fabulous story about race, Way Up in the Middle of the Air — black people choosing to make a new home on Mars, leaving the southern states where, while they may be nominally free, they are still treated as inferior beings.