DAHMER

My overall impression

“DAHMER” is a visceral and horrific exploration not for the meek of heart. “Dahmer” was produced by a group of Cal Arts students whom are sure to go on to do great things in theatre should they continue to collaborate together, which I hope they do. This piece is more a pseudo-dreamscape of Jeffrey Dahmer’s interviews overlaying the very stark choreography of director Mathew Bazulka. Six actresses embody Dahmer at different points in his life, catalogueing the descent of a man from childhood fascination of blood and sinew to a dangerous and disturbed man who killed 17 young men – horrifically – by ways of seduction and intoxication. The imagery is often violent without embellishing, something not often achieved in these more abstract pieces. Symbols prevail throughout, and the inflation / release of a balloon or the murder of a pinata serve as launching points for the expression of Dahmer’s disturbing POV. Kudos to Bazulka and Composer Max Wanderman for achieving this very specific feel.
That said, there were some technical elements to the choreography that could use some clarifying; in moments, had I not read the bio of Jeffrey Dahmer provided on the playbill, it would have been very difficult to discern whom was Dahmer and what their intention was in a given moment. I don’t mean the obvious “Well, he’s Dahmer, he wants to kill this dude because he’s crazy.” By utilizing more crisp and concise movement in key moments – the baptism, the first sight of blood, the evisceration of the animal, the photo shoot / seduction – the audience would have been allowed to follow the intention of the performers more clearly. Granted, you’re never completely lost as no vignette is more than five minutes in length, but since this is essentially a dance piece, the company could have explored more of the specificity inherent in dance; perhaps trusting themselves more and releasing themselves from the academic vocabulary of Suzuki Viewpoints, Growtowski or Contact Improv (which wasn’t unsuccessful, mind you) and going in the direction of straight-up, traditional dance piece – at least for a moment here and there. If nothing else, it would have added a levity that would be a nice release from the relentless, shrieking, breathless context of the show. Also, the red streamers that were the “set design” just didn’t work. I’d rather they didn’t use them at all – it just looked cheap. Lighting cues would have been more effective in conveying transitions and mood.
A “tip-of-the-hat” to the cast: they had more energy and raw power than any of the other ensembles I’ve seen thus far. Much of that is youthful verve, but clearly these are talented young artists. What could these CalArts kids do had they a script from Chekhov or O’Neill or Mamet? I hope I get to see it, someday. Special “shout-outs” for Ashley Angione’s conflicted Priest responsible for the baptism of Dahmer; Bianca Ruiz-Brockl’s vulnerability in the stripping of Dahmer’s old self and cleansing of his body before death; Mathew Bazulka and Brittany Lau’s duet, where symbols reminiscent of the Incubus painting dominate; Alix Schwartz’s scary and hypnotizing portrayal of Dahmer’s love-affair with all things blood; Elisa Rosin’s viscious and violent exploration of a teenage Dahmer enraged with the world around him; and Kat Altman’s tragic portrayal of a very young, and still very happy, little boy Dahmer.
If you want raw, messy, squirming, bloody and disturbing theatre, go see “DAHMER” at the HFF13! It won’t be everyone’s “bucket-o-bones,” but it certainly will leave you feeling grateful for a night of theatre in a safe place!