Though not as overtly erotic as Hart House’s recent Rocky Horror Show, Victoria College Drama Society’s production of Closer packs a sexually charged punch. The production is powerful precisely because its lust and betrayal rings true in today’s society.
Closer is the story of four characters whose lives become interwoven through chance meetings and the eventual betrayals of each other within their incestuous group. In 2004, Patrick Marber transformed his play into an Oscar-nominated film starring Julia Roberts, Clive Owen, Natalie Portman, and Jude Law.
Needless to say, my appreciation for the film coloured my expectations for the play heavily, but I was hardly disappointed. As they were both penned by Marber, the stage play is almost identical to the film save for a slightly different take on the final scene. The show begins with Alice (Iris Graham) and Dan (David Read) in a hospital waiting room, where they make witty small talk while killing time.
Graham does a brilliant job with her character right from the outset. Her Alice is outwardly worldly, quirky, and fearless, while subtly showing the audience an underside of need and desperation that she strives to conceal from the world. From her aloof, uncaring cool in the art gallery, to her ultimate rage and cruelty toward Dan in the hotel room scene, she is unflinching in her portrayal of a girl who just can’t seem to settle.
Read’s performance of Dan brings Jude Law’s portrayal of the character to mind. He is convincingly conflicted, always unsure of what it is he really wants. Kate More, who plays Anna, strays the furthest from the film version of the character, but successfully makes it her own with a distinctive way of speaking and carrying herself that keeps the audience in the dark about her inner emotions. This comes as a welcome contrast to Alice-the audience can see right through her in some scenes.
Last but certainly not least is David Christo, who dominates the stage as Larry. From initially awkward and bumbling to arrogant and twisted, it is impossible to break away from his stunning performance, which is capped with an impeccable accent that truly brings the character to life.
These four actors would be entertaining speaking on an empty stage, but luckily the sets, costumes, and lighting only add to the success of the show. The changes in costumes and Alice’s wigs from scene to scene are excellent and always perfectly fitting. Great retro furniture is moved about, and a large white shadow screen constant throughout the scenes is able to act as a wall, a divider in a peepshow, an aquarium, and most innovatively, an instant messaging screen in the scene where Dan pretends to be Anna in a sex chatroom. Christo and Read barely speak in the entire scene, but instead simply type on their computers, and use the words displayed in their online conversation (as well as great facial expressions) to hilarious effect.
Among other excellent scenes are Larry’s visit to the lapdance club, where Anna dances seductively throughout, the lighting and music perfectly creating an awkward atmosphere of voyeuristic discomfort.
The only elements that put a slight damper on the show are the slightly lengthy scene changes to accommodate drastic set modifications, and the saxophone accompaniment to these transitions, which at times sounded rather like a dying cat.
But thanks to the exceptional casting, this student production was an insightful and professional take on a razor-sharp tale of modern mores.
