Closer Encounters of the Third Kind
My bad. I know... I know... Yes, the play came first but since my initial exposure was through Hollywood, I could not help but keep referencing the movie. So for Pangdemonium Production's sophomore outing of this production of Patrick Marber's Closer, for all the tight-knit ensemble of Adrian Pang, Tan Kheng Hua, Keagan Kang and Cynthia Lee MacQuarrie, I could not help but see Clive Owen, Julia Roberts, Jude Law and Natalie Portman in their characters.
Doubtless, the writing is top-notch, the truth behind human nature and relationships surfaced and stripped bare. At once it was a story about love and life, of deception and betrayal, all of which so tenuously and tenderly brought to the fore.
Adrian Pang was a living testatment of a masterclass in facial expression, his face encyclopaedic in its wealth of contortions. That said, it was difficult to separate the actor and the character, his one flaw being that like Pavarotti, the man was so much bigger than the mission. With a sterling delivery that encompassed being smarmy and snarky as befitted his character, his was a portrayal that exuded cocky confidence.
Tan Kheng Hua, who stepped into the role after original cast member Emma Yong took ill, was a lesson in elocution, her speech impeccable in execution. One could not help but pity that she had to live in the shadow of Emma's initial casting, but then again, to her benefit and credit, she did win over the sceptics as her performance made one realise how unsuitable Emma would have been in the role, or rather how much more appropriate Kheng was, given the maturity of the character.
Keagan Kang as the sensitive Dan was on a charm offensive. Looking suave and debonair, his rich baritone oozed sex appeal and sent many hearts aflutter and knees week. In a hilarious scene of the webchat between the two men, Keagan's sexual baiting of the unwitting Adrian was hilarious in the cheeky reactions and responses he delivered in silence.
Cynthia Lee MacQuarrie was the weakest link in this quartet. Perhaps intentionally faking an accent to appear younger, as required by character, hers was a grating performance that bordered on irritating. However, one found oneself mouth agape at the club scene, not for her lack of clothing, but that she actually spread her legs, and managed a 180 degree split as though she were a professional pole dancer. And that is a compliment, mind. But of all the characters, hers was the one that one kept hankering for Natalie Portman's cool detached portrayal the most.
Anal me was most impressed by the little touches. The ambient background noise in Anna's studio, at the art gallery, at the club, at the museum, so insignificant yet so important. And yes, I still remember that it was Cosi fan tutte Anna was listening to in the movie and not Madama Butterfly.
It was a good couple of hours at the theatre, and Adrian, bless his soul, was a delight in his thank you speech, requesting for word of mouth to spread the advertorial word. Self-deprecating humour and witty repartee were the order of the day and one couldn't have gotten any closer to the stage, being already in the first row.
Doubtless, the writing is top-notch, the truth behind human nature and relationships surfaced and stripped bare. At once it was a story about love and life, of deception and betrayal, all of which so tenuously and tenderly brought to the fore.
Adrian Pang was a living testatment of a masterclass in facial expression, his face encyclopaedic in its wealth of contortions. That said, it was difficult to separate the actor and the character, his one flaw being that like Pavarotti, the man was so much bigger than the mission. With a sterling delivery that encompassed being smarmy and snarky as befitted his character, his was a portrayal that exuded cocky confidence.
Tan Kheng Hua, who stepped into the role after original cast member Emma Yong took ill, was a lesson in elocution, her speech impeccable in execution. One could not help but pity that she had to live in the shadow of Emma's initial casting, but then again, to her benefit and credit, she did win over the sceptics as her performance made one realise how unsuitable Emma would have been in the role, or rather how much more appropriate Kheng was, given the maturity of the character.
Keagan Kang as the sensitive Dan was on a charm offensive. Looking suave and debonair, his rich baritone oozed sex appeal and sent many hearts aflutter and knees week. In a hilarious scene of the webchat between the two men, Keagan's sexual baiting of the unwitting Adrian was hilarious in the cheeky reactions and responses he delivered in silence.
Cynthia Lee MacQuarrie was the weakest link in this quartet. Perhaps intentionally faking an accent to appear younger, as required by character, hers was a grating performance that bordered on irritating. However, one found oneself mouth agape at the club scene, not for her lack of clothing, but that she actually spread her legs, and managed a 180 degree split as though she were a professional pole dancer. And that is a compliment, mind. But of all the characters, hers was the one that one kept hankering for Natalie Portman's cool detached portrayal the most.
Anal me was most impressed by the little touches. The ambient background noise in Anna's studio, at the art gallery, at the club, at the museum, so insignificant yet so important. And yes, I still remember that it was Cosi fan tutte Anna was listening to in the movie and not Madama Butterfly.
It was a good couple of hours at the theatre, and Adrian, bless his soul, was a delight in his thank you speech, requesting for word of mouth to spread the advertorial word. Self-deprecating humour and witty repartee were the order of the day and one couldn't have gotten any closer to the stage, being already in the first row.