“‘Red Speedo” – Courtesy of Indy Ghost Light Photography. Used with permission.
“‘Red Speedo” – Courtesy of Indy Ghost Light Photography. Used with permission.
Back in 2017, I profiled Dance Kaleidoscope principal dancer Cody Miley in my column on TomAlvarez.studio website. (click here to read the full interview) It was then that I learned that, though he had trained and performed as an actor in high school and college, he eventually switched from the theatre to dance. Based on what I witnessed Friday at the Phoenix Theatre Cultural Center, where Miley featured is in “Red Speedo,” presented by American Lives Theatre, Miley, has a bright future ahead of him as a professional actor if he ever decides to choose that path once his successful dance career ends
And what an ideal vehicle “Red Speedo” is for Miley’s auspicious return to the stage. Written by playwright Lucas Hnath, the drama follows the story of 25-year-old Ray (Miley), who fits the stereotype of the dimwitted jock and has no other skills except for swimming —a sport at which he excels. It’s the night before the Olympic qualifying swim trials. He’s on the cusp of reaching the heights and the fame and fortune that comes with it. His brother Ray (Alex Oberheide), a smarmy lawyer who is also his sports agent, stands to benefit from Ray’s potential windfall. Other characters are clean cut, dedicated coach ((Drew Vidal) who is Ray’s moral compass and his ex-girlfriend Lydia (Paige Elisse), The two of them are drawn into the plot which centers on a cache of performance enhancing drugs which Ray uses and that are found on the premises of the club where he trains. An 80-minute, fast paced drama with speedily delivered dialogue, “Red Speedo” examines themes of loyalty, wealth, sibling dynamics, failed romantic relationships, and the moral and ethical implications of winning at any cost.
“‘Red Speedo” – Courtesy of Indy Ghost Light Photography. Used with permission.
Aside from Miley’s nuanced and believable portrayal, Oberheim, Vidal and Elisse were also highly convincing in their supportive roles —with all ensemble members exhibiting effective timing delivering Hnath’s speedy dialogue, under Chris Saunders’s disciplined direction.
Not having researched the play in advance, other than the title, which was clearly a swimming reference, I knew nothing about the play. However, I did anticipate there might be a pool or something akin to it as part of the set. With that thought in mind I was not surprised to see, if not a full-sized pool, at least a portion of one that was positioned in front of the stage. Responsible for the focal, inventive design depicting a swimming facility was Matt Mott.
As far as the show’s lighting, sound and costume design — ALT artistic director and founder Saunders, has assembled a dream team of sought after designers. Overseen by Production Manager, Anthony James Sirk, they include Laura Glover, Ben Dobler and Kristin Renee Boyd, who are responsible for creation of the character’s realistic, competitive world.
Speaking of teams—for an NFL and WNBA city that bills itself as the Amateur Sports Capitol of the world and the site of the 2024 U.S. Olympic Swim Trials, “Red Speedo” couldn’t be more relevant. Coincidentally, two other sports-themed plays, “Flex,” presented by Summit Performance of Indianapolis closed over the weekend and “King James” at the Indiana Repertory Theatre closes Sunday. Recently I interviewed (click here to listen) Indianapolis Symphony Orchestra Musical Director Jun Märkl, during which we discussed the connection between sports and the arts. Agreeing that the two have more in common that not, he also noted that “the big difference, however, is that in sports there are losing and winning teams but in the performing arts, the teams themselves are always winners.” “Red Speedo” certainly belongs in that category.
For tickets and information about “Red Speedo,” which runs through Feb. 16, visit phoenixtheatre.org or americanlivestheatre.org.
