Unflinching and Bold: “Closer” at the Palace Theatre Refuses To Look Away

"Stripped down. Grown up. Not for the faint of heart. Viewer discretion is strongly advised."  The poster statements for the latest production at The Palace Theatre are bang on. 

Patrick Marber’s Closer may be a story about messy people, but director Dave Semple’s production is anything but. Refreshingly bold and cleanly staged, this show is unafraid to take risks as it tackles topics of love, sex, and power. 

Dan (Noah Englmann) and Anna (Meghan Brown) get tangled in an affair. Photo by Ross Davidson.

After an accident, restless writer Dan (Noah Englmann) instantly falls for the brazenly confident Alice (Scarlett Allen). Soon, Anna (Meghan Brown), a photographer who doesn’t know what she wants, and Larry (Alex Pinter), a doctor who uses sex to assert control, get swept up in the mix. Closer follows these four falling in and out of infatuation, intimacy and infidelity in a story spanning years.

Semple’s show is impeccably cast. The four complex characters are often unlikeable (or they certainly make unlikeable choices), yet the actors handle their traits with strength and honesty, from Alice’s fluid flirtation when meeting Dan to the dread bound up in Anna’s body as she prepares to confess an affair.

The tension as Anna (Meghan Brown) and Alice (Scarlett Allen) interact is riveting. Photo by Ross Davidson.

Each scene recombines the same four characters, yet their shifting dynamics are endlessly fascinating. Archetypes emerge and gain depth as the relationships evolve. Alice and Anna are at odds, with the younger woman in contrast with Anna’s apparent maturity. Dan, as a writer prone to romanticizing ideals, clashes with the scientific cynicism of Larry. The story shifts settings to the many different places life’s dramas play out, from hospitals to hotel rooms, aquariums to museums, and even a strip club.

Alice (Scarlett Allen) runs into Larry (Alex Pinter) at a strip club. Photo by Ross Davidson.

This past fall, the announcement that Closer may include nudity created a media buzz in London, sparking discussions about intimacy coordinators and community theatre. To assure the curious, Closer’s barer moments are never gratuitous and appear only in the second act. As an audience member, my discomfort arose far more from watching the unhealthy power dynamics unfold than from any nudity.

To ensure a supportive environment, intimacy coach Sarah Taylor joined the creative team. Her role evolved into that of assistant director — an involvement that makes sense given how causal intimacy infuses every scene. The actors’ natural body language, kisses and even the placement of their hands authentically capture the physicality of intimate relationships without the stiffness of actors playing a role.

Anna (Meghan Brown) and Larry (Alex Pinter) have a serious conversation. Photo by Ross Davidson.

Closer is the first of three shows staged this spring in Procunier Hall, the Palace’s black box theatre. Seating sixty, this intimate space is a natural fit for a show based on claustrophobic closeness.

The small confines keep the actors tantalizingly close to one another, an effect that plays especially well when scenes happening in different locations take place simultaneously onstage. The audience’s proximity also allows occasional fourth wall breaks, like a powerful moment when Alice looks out, observing the audience in return.

Anna (Meghan Brown) talks with Dan (Noah Englmann), while Larry (Alex Pinter) approaches Alice (Scarlett Allen). Photo by Ross Davidson.

The “stripped down” nature of Closer applies not only to its content, but also the set and props. Semple’s set relies on a series of black chairs and tables, reconfigured for each new setting. Except for one notable exception, all props are mimed, with the creative addition of live foley work by Heather May. 

In such a serious production, mime initially felt surprising, but given the sparse set, anything more would have seemed out of place. The absence of props also means the only real item — a Newton’s cradle — is a striking presence, heavy with significance by the end of the show.

The Newton's cradle makes a perfect visual metaphor for Closer's relationships. Photo by Ross Davidson.

Closer is about the way we hunger for details, even when it hurts. Maybe especially when it hurts. It addresses our inability to look away, even from the worst of the people around us. So, don’t go expecting a feel-good love story. But, if you’re interested in a gripping tale of toxically tangled relationships, I know I found it impossible to look away. 

Closer plays with limited seating at the Palace Theatre until Feb. 15.

The cast and crew of Closer at the Palace Theatre. Photo by Ross Davidson.