By Sujin Jung

When one door closes, another opens; but we often look so long and so regretfully upon the closed door that we do not see the one which has opened for us.

Alexander Graham Bell, The Winona Times, 1935

This might sound overly sensational, but Joshua William Gelb’s Closet Works series proves that a new theatrical laboratory involving entirely new possibilities for the medium can be constructed amidst the COVID-19 pandemic. Gelb, an independent New York-based director and performer has converted his home closet (a white box with dimensions of 4x8x2 feet) into a space for live digital performance. Since March, Gelb has performed and livestreamed from this closet in his East Village apartment, working remotely with his supporters and collaborators. Closet Works v. 4, presented by the Invisible Dog Art Center with additional support from Mamie Kanfer and Justin Stewart, was his last performance of the summer season. The 20-minute-long show consists of four short performances titled ‘I Don’t Have a Closet Here with Me’, ‘Moro’, ‘Corners 1,2,3,4 and 5’, and ‘Rue’, featuring choreography by Katie Rose McLaughlin, with special guest Afra Hines and music by Alex Weston, The Westerlies, and Bradford Hardie.

Closet Works v. 4 is a powerful piece of storytelling despite containing no spoken language. In the white box, his facial expressions and body motions are strikingly conveyed, communicating strong emotions such as frustration and loneliness. His physical movements, such as crouching in the corner, pushing against the wall, and trying to keep his balance evoke ideas of delays, escapes, and circular motions. These gestures become more visually and conceptually dynamic when coupled with several digital tricks, such as when the footage is manipulated with a kaleidoscope effect. While Gelb explores the white box in ‘Rue’ (choreography by Katie Rose McLaughlin, music by The Westerlies), three more reflecting boxes skew to meet each other on an angle. In this continually shifting symmetrical pattern, the pattern and repetition of each gesture becomes more complex and powerful. It is also worth noting that the white box is both a physical and digital venue. In ‘Rue’, Gelb uses a board on an inclined slope, which is digitally modified through a combination of changing camera orientation and kaleidoscopic digital effects. This results in the impression that the white box is floating, able to rotate unrestricted by gravity.

Sound and music are crucial aspects of each short performance. In ‘I Don’t Have a Closet Here with Me’ (by McLaughlin and Gelb) , Alex Weston’s majestic yet solemn music sets the mood as Gelb explores the isolated virtual space – like exploring an imagination – on the black and white screen.In ‘Corners 1,2,3,4, and 5’(choreography by McLaughlin), Weston’s sorrowfully beautiful music strongly influences the atmosphere. As Gelb circles within the space, gesturing as though he is trying to escape, yet sinking, his movements are beautifully tuned in with Weston’s music, which creates emotional harmony. On the other hand, in ‘Rue’, Westerlies’ jazzy brass quartet perfectly harmonises with the four digitally conjured floating white boxes. Bradford Hardie’s rhythmic music in ‘Moro’(choreography by Afra Hines), has a similar role in setting the mood. In ‘Moro’, the numerous, accumulating reflections of Gelb in the white boxes performing simple repetitive gestures out of sync with the rhythm occurs on an angle. This is an expression of the time delay that occurs in digital communication.

If there is any hint of narrative or easily accessible meaning, it is in the titles of the short performances presented within Closet Works v. 4. ‘Moro’ refers to the survival reflex of a newborn baby. Moreover, ‘Corners 1,2,3,4, and 5’ are concerned with the remote working process, designating each wall of the white box with a separate number for choreography direction. Also, it’s worth noting the gas mask in ‘Rue’, the only prop in the show. Though there is no narrative to suggest this explicitly, it can be assumed to be a symbol of current pandemic. All of short performances remind the viewer of why Gelb and collaborators chose to explore this wild digital space, by embracing social distancing but not sacrificing the live-ness and collaboration of theatre.

Gelb’s Closet Works v. 4 is an innovative digital work that cleverly exploits the advantages of both physical and virtual performance space. It suggests new ways of theatrical collaboration and demonstrates new methods of receiving a live theatre experience. Working together remotely in real time, Gelb and his collaborators integrate, rather than ignore challenges like time-delays in the work. Closet Works v. 4 explores new horizons of the theatre experience in the digital wild, employing a variety of physical and virtual tricks to fascinating results.  

Watch Theater in Quarantine – Closet Works v. 4 by Joshua William Gelb here. His YouTube channel also features dozens of other shows, with an upcoming season to look forward to, premiering on October the 5^th.