Tag: Patrick Marber
Endless scene changes stifle strong ensemble work
|AstonRep Theatre Company presents|
|Written by Patrick Marber
Directed by Rob Cramer
at Heartland Studio Theatre, 7016 N. Glenwood (map)
through March 5 | tickets: $15 | more info
Reviewed by Barry Eitel
Patrick Marber’s magnum opus Closer hits like a Classical tragedy with “Friends” era embellishment. Marber won a shelf-full of awards and recognition for the play, but has since gone on to craft such garbage as “The Tourist” screenplay. In 2004, he turned the play into a Julia Roberts/Jude Law vehicle and found raving mainstream audiences. Closer is now one of about five plays you’ll probably find on any given Borders’ drama section.
Despite the hype, the play packs a punch, drawing comparisons to Brits like Noel Coward and Harold Pinter. Unlike much of the schlock coming out of the late ‘90s/early aughts (Proof, anybody?), Marber writes harrowing thematic depth and dense, conflicted characters. The play does indeed feel like a period piece of the ‘90’s.
AstonRep Theatre Company’s mission is to bring theatre to non-theatre audiences, which perhaps explains choosing such a well-known piece for their second production. Snuggly fit in the BoHo space in Rogers Park, their production doesn’t seem to go anywhere conceptually. What saves the show from total destruction is Marber’s deft writing sensibilities and an incredibly talented cast.
Overall, the production feels like an acting class final. The talent on-stage contrasts starkly with the poor production values, creating a strange rift that never resolves.
The four-actor piece follows two men and two women over a few years. The characters meet, have sex, fall in love (or not), and inevitably break up and squash each others’ hearts, not always in that order. Dan (Ray Kasper), an obituary writer, meets Alice (newcomer Aja Wiltshire), an ex-stripper prone to falling in front of moving cars. As the months go on, Anna (Amy Kasper) and Larry (Robert Tobin) get thrown into the mix. Affairs spiral off in all sorts of directions, most end in emotional explosions. Then there is the making up, marriages, divorces, and long talks in strip clubs.
Ray Kasper, although too old for the part, works well against Wiltshire, easily the most charming member of the cast. Although he can’t nail Larry’s anger, Robert Tobin finds and plays up the humor. Amy Kasper makes bold choices from the beginning. The cast struggle with some of the weightier moments of the play, although they are always in sync with the dramatic arch of the piece.
Director Rob Cramer’s production is extremely hampered by amateurish stumbling blocks. The transitions are the most glaring issues, making a 90 minute script into well over 2 hours. There are twelve scenes in the play. Here, each transition is done in blackout, without any music, and without any creativity. The AstonRep gang forgets that this is all part of the show, too. Designer Lea Tobin’s set feels rushed and inadequate. We see all the wires, but we shouldn’t. I wish Cramer lessened everything and just focused on his cast. A simpler touch would make the show quicker, clearer, and more engaging.
I’ll be honest, considering the missteps, I thought this was going to be a groaner of a production. But the cast really pull the play together, forging the believably convoluted relationships that Marber requires. Even the scene where Dan and Larry interact in a sex chat room, for example, is hilariously crude yet Kasper and Tobin use it to reveal quite a lot about each character.
Marber’s writing dabbles a bit in romantic comedy, melodrama, and tragedy, but Closer defies any neat Hollywood genre placement. Unlike many writers of our time, he allows the story to drive itself in any direction it needs. The folks behind AstonRep understand this, but they aren’t able to articulate it.