By Jen Tonon, Associate ArtistWhen it comes to live performances, it can sometimes take a really strong (or utterly disgusting) story and cast to keep my attention. Blame it on the age of A.D.D., or general lack of sleep, but I don’t sit still to save my own behind sometimes. “Closet Land” was one of those shows that did not cause me to fidget in impatience, even in the slightest.
The Playbill Café in DC is not known for its huge accommodations and certainly does not lend itself to elaborate sets. But even with the limitations of such a venue, set designer Mike Roike pulled off a simple-yet-effective environment that emulates a dirty interrogation cell amidst a militaristic state. The actual geographic location of the play is never discussed, but it rings reminiscent of so many war-era bunkers where innocent people are detained to and falsely accused of treason for the “good of the country.” Without digging too deeply into the storyline, the ideology of the “Closet Land” that is spoken of so often in the play made me think of a bizarre parallel to “The Lion, the Witch and the Wardrobe.” Only, in “Closet Land,” Mr. Tumnus the fawn is replaced with a rooster and a cat with wings.
Jessica Hansen plays a children’s fiction writer, who finds herself bound and blindfolded at the start of the play. Usage of sound and lighting plays a great role in this show, and sound designer Ben Russo has done a great deal to help paint the picture of a desolate and extremely unkind prison cell. Hansen especially shines during her frequent “escapes” to “Closet Land.” The innocence and general sugary-sweetness of her portrayal of the character reminded me all too well of every elementary school teacher I’ve ever had. I half-expected to be fed juice and cookies during a rousing sing-a-long of “Mary Had A Little Lamb,” which would have only added to the uber-creepiness of this show. There’s something about the innocence of children that can be so terrifying when twisted around to be used in a horrific way. Just look at “the Omen.” Kids can be creepy. Now, there are no children in this show (it’s just a two-person cast), but the amount of mental regression that takes place is more than enough to cover that base.
One thing that I found to be extremely funny, was the sheer number of “personalities” that appeared during the course of the play. It felt like an Eddie Murphy movie gone horribly wrong. However, having to play a series of different voices and attitudes can be extremely tough on an actor, and Alex Zavistovich pulls it off beautifully. At the beginning of the show, you want to hate him so bad, and that feeling just keeps on building as the play moves along. His usage of physicality really gives the audience the sense that he is sickly enjoying what he is doing to this poor girl. He likes being powerful and in control; something that sadly occurs in many countries run by corrupt government and military.
One line that stuck out was, “it’s the suspense, not the pain that will drive you mad.” The pacing of the play invokes a similar feeling, as you’re waiting in suspense to see what is going to happen to Hansen’s character next. This is by far not a bright and cheery fluff piece. Fans of movies like Hard Candy and 70s exploitation will get the most out of “Closet Land.” It’s for the sick and twisted, those with a morbid curiosity for anything out of the norm, or someone who gets a kick out of other peoples’ misfortunes and causes them to say, “Well Hell, my life isn’t so bad after all!” “Closet Land” brings new meaning to the words “touchdown” and “barbeque” (you’ll likely want to buy a pair of iron underoos after wards).
The Playbill Café in DC is not known for its huge accommodations and certainly does not lend itself to elaborate sets. But even with the limitations of such a venue, set designer Mike Roike pulled off a simple-yet-effective environment that emulates a dirty interrogation cell amidst a militaristic state. The actual geographic location of the play is never discussed, but it rings reminiscent of so many war-era bunkers where innocent people are detained to and falsely accused of treason for the “good of the country.” Without digging too deeply into the storyline, the ideology of the “Closet Land” that is spoken of so often in the play made me think of a bizarre parallel to “The Lion, the Witch and the Wardrobe.” Only, in “Closet Land,” Mr. Tumnus the fawn is replaced with a rooster and a cat with wings.
Jessica Hansen plays a children’s fiction writer, who finds herself bound and blindfolded at the start of the play. Usage of sound and lighting plays a great role in this show, and sound designer Ben Russo has done a great deal to help paint the picture of a desolate and extremely unkind prison cell. Hansen especially shines during her frequent “escapes” to “Closet Land.” The innocence and general sugary-sweetness of her portrayal of the character reminded me all too well of every elementary school teacher I’ve ever had. I half-expected to be fed juice and cookies during a rousing sing-a-long of “Mary Had A Little Lamb,” which would have only added to the uber-creepiness of this show. There’s something about the innocence of children that can be so terrifying when twisted around to be used in a horrific way. Just look at “the Omen.” Kids can be creepy. Now, there are no children in this show (it’s just a two-person cast), but the amount of mental regression that takes place is more than enough to cover that base.
One thing that I found to be extremely funny, was the sheer number of “personalities” that appeared during the course of the play. It felt like an Eddie Murphy movie gone horribly wrong. However, having to play a series of different voices and attitudes can be extremely tough on an actor, and Alex Zavistovich pulls it off beautifully. At the beginning of the show, you want to hate him so bad, and that feeling just keeps on building as the play moves along. His usage of physicality really gives the audience the sense that he is sickly enjoying what he is doing to this poor girl. He likes being powerful and in control; something that sadly occurs in many countries run by corrupt government and military.
One line that stuck out was, “it’s the suspense, not the pain that will drive you mad.” The pacing of the play invokes a similar feeling, as you’re waiting in suspense to see what is going to happen to Hansen’s character next. This is by far not a bright and cheery fluff piece. Fans of movies like Hard Candy and 70s exploitation will get the most out of “Closet Land.” It’s for the sick and twisted, those with a morbid curiosity for anything out of the norm, or someone who gets a kick out of other peoples’ misfortunes and causes them to say, “Well Hell, my life isn’t so bad after all!” “Closet Land” brings new meaning to the words “touchdown” and “barbeque” (you’ll likely want to buy a pair of iron underoos after wards).
“Closet Land” is Landless Approved!
Closet Land by Radha Bharadwaj
Directed by Lucas Maloney
Starring Jessica Hansen and Alex Zavistovich
Sound Design – Ben Russo
Fight Choreography – Tara Garwood
Special Effects – Alex Zavistovich
Lighting Design – Lucas Maloney
Stage Manager – Juely Siegel
Approx. run time – 90 mins without intermission
Starring Jessica Hansen and Alex Zavistovich
Sound Design – Ben Russo
Fight Choreography – Tara Garwood
Special Effects – Alex Zavistovich
Lighting Design – Lucas Maloney
Stage Manager – Juely Siegel
Approx. run time – 90 mins without intermission
Tickets online at: www.molotovtheatre.com
Next: Brett reviews THE ROCKY HORROR SHOW at GAC!
