Closer is the second play by British playwright Patrick Marber. It was adapted by Marber for the film of the same name , produced and directed by Mike Nichols. Closer was first performed at the Royal National Theatre in London on 22 May ; it was the second original play written by Patrick Marber. A young man, Dan, takes a young woman to hospital after she has been hit by a taxi; they flirt as they wait for the doctor to attend to her bloodied knee. Larry, a doctor in dermatology, inspects her leg briefly and leaves. Dan and the young woman introduce themselves—he is Daniel Woolf, an obituary writer and failed novelist who tells her how he and his colleagues use euphemisms humorously in their work in obituaries.
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Closer by Patrick Marber. In Closer, Patrick Marber has created a brilliant exploration into the brutal anatomy of modern romance, where a quartet of strangers meet, fall in love, and become caught up in a web of sexual desire and betrayal. Closer is being hailed as one of the best new plays of the nineties, and as the London Observer noted, it "has wired itself into the cultural vocabulary in a wa In Closer, Patrick Marber has created a brilliant exploration into the brutal anatomy of modern romance, where a quartet of strangers meet, fall in love, and become caught up in a web of sexual desire and betrayal.
Closer is being hailed as one of the best new plays of the nineties, and as the London Observer noted, it "has wired itself into the cultural vocabulary in a way that few plays have ever done. Get A Copy. Paperback , pages. Published December 1st by Grove Press first published November 3rd More Details Original Title. Other Editions Friend Reviews. To see what your friends thought of this book, please sign up.
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Rating details. More filters. Sort order. Start your review of Closer. Dec 11, Jeff rated it liked it Shelves: buddy-reads , stuff-they-make-you-read-in-school , drama. First, this is a play and reading a play rates second or third to either watching a performance or at least listening to it on audio book.
Get ready for some banal out-of-context dialogue pics. So, this isn't any different from any of your comic book reviews? Again with the lying. Marber tries to recreate a sex-chat room on the page and on stage, but at this juncture in time it already seems dated and trite — like reading a Clifford Odets play about Bolsheviks and the struggle of the worker.
And it only costs me three or four minutes of my time. Okay, point taken and can somebody throat punch Jude Law. So why did you read this play? My son had to write a school paper on this play and he wanted me to read it, so I could better help proof his work. He also had to read Antigone. He liked that one better. So, timeless writing wins our over shallow, lurid typing every time.
View all 5 comments. Mar 06, Melanie rated it liked it. I was surprised at the very different 'ending' but some of the clunky transitions in the film now make sense. To summarise - I like the bite, I hate the cynicism, I love the filth. I can imagine the stage play would be quite something. View all 4 comments. Feb 15, Trish rated it really liked it Shelves: fiction , film , sexuality , theatre. The relationships shown here are partly about what men want and what women want but the discussion encompasses so much more.
The men are jealous and selfish and want what they cannot have. The women are victimized by men's attention and yet cannot do without it. The only one that has any conviction at all is the exotic dancer who has little compunction about the crudity of her profession. She is unasbashed and possibly the most honest of the four. The play has a disturbing, uncomfortable feel and The relationships shown here are partly about what men want and what women want but the discussion encompasses so much more.
The play has a disturbing, uncomfortable feel and finish. Closer talks a lot, but it doesn't actually say anything. Marber is good at acting like he does. The characters are witty, the situations they get themselves into are mind-bending in an interesting way, and the dialogue is well-written, staccato and blunt in a way that must have felt challenging and 'edgy' in the s.
Here, to me, it just felt like the eleven-year-old who thinks he's hard core because he uses the F-word. The characters are insufferable. But they're supposed to be insufferable. T Closer talks a lot, but it doesn't actually say anything. That's the whole point -- every comment I make about this play, I would have to preface with "supposed to be. No-one is at all likeable, but they're not supposed to be. The message is bleak and grim, but it's supposed to be.
Closer is a play that knows it's a play, and thinks it's oh so very clever for figuring it out. There's a lot of loaded comments about art, what people want from art, how art is nothing but a Big Fat Lie. But, ultimately, there's so much Try in Closer that none of it really sticks.
Trying to be edgy. Edgy with its pretentious stripper and pretentious photographer and pretentious failed writer and oh god even a pretentious dermatologist. But none of it is ever followed through. All it amounts to is unrealistically well-spoken characters standing around in their metal-cage world making points just by saying them.
Closer is extremely heavy on the self-awareness. But there are no fully developed themes, no sense of a driving, overwhelming question. Love is bleak and sterile in Closer - but it's not enough that Marber has shown us the bleak sterility of love and sexual attraction through a joyless cybersex scene in the beginning.
No, he hammers the point home with such tell-don't-show voracity that, yes, it was convincing. It was also incredibly tiresome. It wants to be Lolita , another subversive text all about how we tell stories and how characters use lies and self-awareness with perhaps the biggest taboo of all. Unlike Lolita , though, there's no flesh on these bones.
Closer is nothing but the cold, rigid, sterile, metal bones of a good idea but, instead of developing it, pushing it, Marber leaves it just as a good idea. Any impression on the audience comes from the fact that he's merely raising these points about sex and intimacy and men and women, but he doesn't push them.
He doesn't follow them through. It isn't. At least, not for me. To me, the grim tragedy of Lolita comes in playing along with it, in feeling the emotions that Humbert is trying to hook out of you, in creating a flesh and blood world that you only later realize has been manipulated and created for your viewing benefit.
You involve yourself in it; that's how you become culpable in it. Maybe that's the point of it, though. Love is superficial. Hey, it's clear that Marber really hates love. But he doesn't show us that it is. There's no scenes of hurt, betrayal, anything. Worst of all, though, there are no scenes that inspire any of those feelings. We hear a lot of didactic comments about the nature of love, about how Alice "created herself" and Dan is a selfish hypocrite and Larry is a sad stalker and Anna is
How we made Closer – by Clive Owen and Patrick Marber
Very strange feeling The play — a witty but often cruel four-hander about the romantic turmoil of four Londoners, involving overlapping relationships and betrayals — tends to elicit strong responses. An audience may feel flayed by the brutalities that unfold, as we see the first and last meetings of each swapping couple. People who witnessed it in one of its original incarnations tend to remember the experience. Director David Leveaux certainly does. I was just startled by it; I thought it was the most brutally beautiful diamond of a play, and in its treatment of intimacy, so radical. But that was 17 years ago; does it still have the capacity to startle?
D oes it still resonate? For all its debt to Soderbergh, the play reminds me of the great Viennese dramatist Arthur Schnitzler in its portrayal of the daisy-chain of love and lust. It starts with a meeting in a hospital between the waif-like Alice, nursing a minor injury, and Dan, a newspaper obituarist and would-be novelist. But, although they start an affair, Dan is simultaneously attracted to a photographer, Anna, who specialises in wistful portraits of sad strangers. While Anna is equally drawn to Dan, she marries a dermatologist, Larry, whom she guiltily betrays and who sporadically deceives her.
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Join StageAgent today and unlock amazing theatre resources and opportunities. Research Playwrights, Librettists, Composers and Lyricists. Browse Theatre Writers. Four lives intertwine over the course of four and a half years in this densely-plotted, stinging look at modern love and betrayal. Twelve scenes chronicle the love affairs, rivalries, seductions, and betrayals of four characters two men, two women in a spare, intense style -- sometimes coarse, sometimes obscene, but calling for real sensitivity and vulnerability in the acting. It has since been produced in countries all around the world. View All Characters in Closer.
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