A Review of Labyrinth Productions’ Closer

There are some things that you take for granted in the student drama scene, chief amongst them trigger warning topics and which actors are worth watching. In the case of Labyrinth’s production of Patrick Marber’s Closer the cast list was a promise of good performance value, boasting notable names that even this OUDS retiree was familiar with. But if the cast enticed audiences to consider buying a ticket, it was the sleek and professional marketing which eventually caught them.

Closer is a four-hander which tells the story of relationships and betrayal in such a complicated spider web that to even try to provide a synopsis would no doubt give something away. Suffice to say, this study of human interaction and psychology suits a black box theatre like the Michael Pilch Studio. Leaning into the space, the design opted for some occasional furniture but primarily for simply stark white lines crisscrossing the stage. This minimalistic approach works wonderfully, providing interest while not detracting from the actors. There is no denying that director Rosie Morgan-Males knew what she was doing with this venue, especially when she decided to take on a performance in the round. The decidedly tricky staging seems to provide no difficulty at all, with the diagonal lines being handled with a superb awareness of audience sightlines.

Predictably, the actors rose to the challenge of this emotional rollercoaster ride with the poise and skill that we have come to expect from them. Catherine Claire Williams-Boyle brings the energy and joyfulness of a young and broken person in what is undeniably a captivating performance, while Vasco Faria’s Dan is not quite unlikeable as an indecisive failed author. Vita Hamilton provides a somewhat austere contrast to Williams-Boyle with her reserved portrayal of Anna, their characters complimenting each other as perfectly as Faria and Robert Wolfreys’ Larry. Sometimes there is no way to pinpoint a specific actor for their skill, so the cast will forgive a reviewer for describing them as their quartet, each handling tears, anger and love with compelling talent.

One thing that did leave me with questions were the transitions. With the assistance of music and strobes that which is a necessary evil of theatre becomes a feature in itself. There’s no denying that this is genius idea – drawing attention to them rather than trying to hide their existence – but I would argue that they are too long. During opening night the audience could be heard muttering to their neighbours during these blackout, no doubt discussing the scene. And while this may well have been the point, I’m personally not a fan of talking in an auditorium or anything which draws audiences out of the suspended disbelief of the performance. I do also wonder how these influenced the run time, as it is certainly a long show with the second half continuing to escalate towards the final climax despite audiences thinking that this must surely be as crazy as things can get.

This is a story about chasing adventure, the thrill of the possible, and the inevitable fallout that comes with that. Overall this is an excellent piece of theatre, which highlights the talent present in the current generation of Oxford Drama both upon the stage and behind it. Utilising what the Pilch has to offer, the team have created a powerful play that I wholeheartedly recommend seeing during its short run. But, if you don’t know the story, be prepared for plenty of explicit discussions and quite a lengthy run time!