Can anyone say, ‘narcissist’?
Six years after Jonathan massacred thirteen students, he is giving his first interview to Rachel, an up and coming journalist.
Set as a prison visit, what is immediately striking about Glitch is the juxtaposition of Rachel’s intensity about the truth and Jonathan’s laid-back attitude about his potential fame. He’s bating Rachel. And often. And his nonchalance about the murders is doing nothing to curb Rachel’s raw anger, nor offering any real, new information about why Jonathan decided to it in the first place.
But the push/pull can’t last long. This is his only chance to give his side of the story. Their time together is running out. And in the last moments of the interview, just when Jonathan thinks he’s entirely got the upper hand in this petty game, Rachel turns his own flagrance back in his direction by letting him know, that she and she alone will decide how he’s remembered – or not.
It’s a juicy, power-play ending that seems to bring just a little bit more justice to a circumspect situation.
Bold, on the surface, writing, very plain staging and simple direction all by writer/director Travis Snyder-Eaton. The entire presentation falls onto actors Gemma Pilar Alfaro (Rachel) and Jordan Klomp (Jonathan) to build out the story through heavy dialog and repartee. They do so with purpose. Alfaro is ferocious in her examination from the start. Klomp matches her beautifully, blow for blow.
It’s the part potentially real/part fly-on-the-wall fantasy ending of a fictional scenario that deals with a modern true and current crisis.