Review: Rainbow Theatre Project's IN THE CLOSET is a Moving, Although Unpolished, Coming-of-Age Tale

The closet is a space intimately familiar to anyone who identifies as a gender or sexual minority. A safe haven free from the possibility of judgement, the space is occupied for as little as a few hours and for as long as an entire life. Siegmund Fuchs's new play In the Closet, produced by Rainbow Theatre Project, manifests this space in vivid detail. Unlike similar coming out stories, Fuchs emphasizes the continual process of coming out over the course of one's life. Even when the script stumbles, the themes presented in this show are worth listening to intently.

All of the play's action takes place inside of an expansive closet (designed smartly by Greg Stevens, who uses all space possible in the intimate DC Arts Center) where four men meet to discuss their struggles with sexual identity. Known simply as Man 1, Man 2, Man 3 and (you guessed it) Man 4, each represents different hardships related to their sexuality.

Man 1 (Tim Caggiano) is in the later years of his life, struggling with his husband's cancer diagnosis and prejudices among the medical community related to elder care for LGBT individuals. Recently suffering a mental breakdown, Man 2 (Christopher Janson) is the 40-something gay man who feels isolated from his community and is unsure that he will find a meaningful relationship. Man 3 (Zachary Dittami) is a 20-something who's recent sexual assault has forced him back into the closet because "a jury won't believe a gay man." Finally, Man 4 (Patrick Joy) is the 18-year old who, fresh from his first sexual experience with another man, runs into the closet while he deciphers his identity.

The three older men all play "fairy godmother" to Mr. Joy. They coax him to assure the youngest that there is a place for him outside of the closet. But as Man 4 notes, if there is so much for him outside then why are the rest of the men in this closet as well? It's a smart question to ask and one which the play struggles to answer at times. Almost as a direct response to the viral "It Gets Better" videos, Mr. Fuchs's script presents a much more complicated view of gay life. Things may get better, but you might not realize that while you're in the moment.

Confusingly, In the Closet is billed as "A Metaphysical Comedy" but lacks enough humor to be considered a true comedy-metaphysical or otherwise. When you're tackling issues like sexual assault and terminal illnesses, lightheartedness is difficult to incorporate without the piece becoming clunky. Most moments of levity take place at the play's intro and conclusion but the middle chunk of this two-hour performance is much heavier than might be anticipated for a comedy. It is important to note that the script is incredibly graphic with the description of Man 3's sexual assault and could be too much to handle for those who have lived similar experiences.

Rainbow Theatre Company's H. Lee Gable lends a decent directorial hand. There's not much movement during many parts of the production, which can make the dialogue sound more choppy than necessary. At several times during the show, characters stand from their seat or stool just to sit back down again several lines later. More care could have been taken to keep actions more motivated through the evening.

As a result, In the Closet demonstrates an unfinished quality which reduces the overall impact of the work. Many times throughout the evening, dramatic pauses were stretched just long enough to raise the question of whether memory issues were occurring. Coupled with the regular cutting-off of lines or speaking over other people and the impression was clear: just another couple days of rehearsal would have tightened up the execution. Such missteps will likely correct themselves as the production continues but it is disappointing for a promising production to be weighed down by such missteps.

Most of the performative issues rest upon the first two men. Mr. Caggiano and Mr. Janson are both wonderful monologuists but neither feels very connected to their other cast members. As the old-timer of the group, Mr. Caggiano has the hardest time remaining compelling because Man 1 stays seated in the same spot for almost the entire production. This lack of movement is likely a reason behind some clearly dropped cues from Mr. Caggiano. Mr. Janson, meanwhile, is perhaps the sharpest actor on stage but he never really reaches the same kind of emotional rawness achieved by those around him.

This show is lifted to greater heights thanks to adroit performances by the younger men. Mr. Dittami is eminently watchable during the evening despite an aggressive black eye adorning his face. Man 3 is responsible for most of the bit characters who appear in flashbacks and he embodies other personas with ease (even when his transitions to these characters feels a little robotic). As the youngest of the group, Mr. Joy fills the space with an infectious energy that often helps to buoy the show when pacing drags. Upon Man 4's entrance, there is a lift to the show which revives whenever Mr. Joy contributes to the dialogue. His performance never feels pushed and (along with Mr. Dittami) he delivers some of the show's most genuine and flat-out cute moments.

The production is designed well. Greg Stevens works wonders with the small space at DC Arts Center, creating a sleek and imaginative interior for this metaphorical closet. All of his bright whites and hand-drawn representations of clothes and various items typical of a closet help enliven the very dark space. His costumes, additionally, are all down in shades of powder blues bringing a welcome unity to all of the conflicting personalities on stage. James Morrison does a fine job with the lighting design and Cresent Haynes provides the dutiful sound design which is able to overcome the ambient noises of the nearby Adams Morgan bars.

In the Closet is far from a perfect production. This run, however, will likely continue to tighten as performances continue. At the end of the day, this is a coming-of-age and coming out story that is unlike those that have come before. That uniqueness alone is worth a journey into Rainbow Theatre Project's closet.

Rainbow Theatre Project's In the Closet runs approximately two hours with one intermission and is playing through September 15 at the DC Arts Center. Please note this show features graphic depictions of sexual violence. For tickets and information, click here.

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Sam Abney is a Washington, D.C. based arts professional. A native of Arizona, he has happily made D.C. his new home. Sam is a graduate from George Mason University with a degree in Communication and currently works for Arena Stage as a member of their Development team. He is a life-long lover of theater and is excited about sharing his passion with as many people as possible.

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