Review for "Red Speedo" by Lucas Hnath
Theater: Quinnipiac University, Theatre Arts Center
The tension and stakes were high in Quinnipiac University’s latest show, Red Speedo, by Lucas Hnath. This show ran from October 10th-13th in their brand new black box theater. This theater allows for very intimate performances, with actors so close to you it feels as if you’re actually in the story. I found myself very impressed with this performance and all of the work that went into it, especially the acting, the set design and the directing. Though the dialogue was a bit choppy, the actors, excellently guided by director Mariah Sage, took the script on with stride and produced an excellent show.
This play follows the story of Ray (played by Quinnipiac sophomore, Liam Devlin), a competitive swimmer who yearns to make it to the Olympics. If he makes the team after the final Olympic trials, he’ll score a deal with Speedo, not have to worry about finding a job, and he’ll probably be able to win back his ex-lover, Lydia (played by Quinnipiac senior, Betts Miller). The only thing standing in Ray's way is his performance-enhancing drugs found in the locker room fridge. Does he lie that the drugs aren’t his? Should he continue to cheat? Are the drugs making a difference in his athletic performance or is it all psychological? These questions are all considered. Another obstacle standing in Ray’s way is his own brother, Peter (played by Quinnipiac senior, Joseph Powell), who also serves as his manager. He encourages Ray’s intake of drugs to earn them both the big bucks, no matter what kind of danger it puts on Ray’s health.
Mariah Sage, adjunct professor and director of the show, gave a statement explaining why Red Speedo’s relevancy prompted Quinnipiac to produce it this year: “We picked Red Speedo for its highly relevant themes in relation to the our current news headlines. Our hope is that our audiences will consider: Why do we cheat? To see if we can get away with it? Or because we didn’t get caught the last time? Or because we’re desperate? Why has cheating to win become so common in sports, politics, college admissions, and college classrooms? In his play, writer Lucas Hnath takes us into the room where secrets about cheating are divulged so that we might get a deeper understanding of privilege, our personal ethics, and the incredible pressure young people feel to succeed in America.” After watching this production, I can attest that all of these questions were expertly incorporated in the performance in order for audiences to ponder and consider them.
Sage did a great job with keeping the tension constantly high, leaving audience members never knowing who was going to walk out next or what new conflict was going to arise. One of the creative ways tension was woven into the show was through ticking sounds in-between scenes (credit to sound designer, Kevin Copeland). It made me feel on-edge, especially during one of the moments when the ticking sound was increasingly getting faster and faster until it abruptly came to a dead stop. Sage directed the actors with natural movements without any of the actor’s choices seeming unjustified or forced. There was a bloody fight scene at the end that also featured one of the characters trying to drown another (much credit to New York-based fight director, Michael Rossmy). In order for an intense fight scene to work, it needs to feel like there was a natural progression leading up to an extreme moment. Sage conducted a show with the proper stepping stones needed to ultimately pave the way to a satisfying fight.
The aspect of the show I was most impressed with was the set design by Abigail Copeland, Quinnipiac professor in the Department of Visual and Performing Arts. A set is one of the first aspects of a production that audience members notice, consciously or subconsciously, since it’s pretty much the only visual that can be analyzed before the show starts. Because of that, I contend that a set design can make or break the production’s overall performance quality. Upon walking into Quinnipiac’s theater, the first thing I noticed was the blue cinder block-styled walls that were fully textured to seem real, and the onstage swimming pool containing actual water. Obviously, in real life, the pool would have been twenty times the size and deep enough for a person to be fully submerged. However, given the small proximity of the theater, a smaller version of a swimming pool sufficed in order to accurately tell the story. Along with that, I also loved and appreciated the diving block, pool accessories in cubbies off to the side, and the Olympic styling executed with posters and a beautiful red, white and blue star trim. The only addition that would have made this set more realistic would have been the chlorine smell of a club swimming pool.
The costume design by Katya Vetrov was extremely appropriate, matching each character’s attributes respectively.
The costume design by Katya Vetrov was extremely appropriate, matching each character’s attributes respectively.
Despite the talented actors, I found a slight issue with the dialogue of the play. The sentences were a tad choppy and back-and-forth to the point where characters were barely finishing their sentences. My guess is that the playwright's intention was that this delivery of dialogue would add to the suspense of the show. Audience members needed to acclimate to this style of dialogue. The actors pulled it off nonetheless, each adding to the show in their own ways.
Overall, every aspect in this production came together swimmingly to tell a difficult and morally-questioning story.
(Photo Credit: Brendan Dillon)
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