New pieces of theatre are always a mixed bag. As an audience member, you can never truly know what to expect (especially if you see it before official reviews) and as an artist you never truly know what the reception will be. This project was interesting because it looked at both of these sides in my exploration of three new works in the DC theatre scene: Red Speedo, Crossing, and The Argument.
Red Speedo was presented to audiences as a lab production, which was specifically designed to showcase new works. Because of this, I think audiences were more accepting of the piece as a whole, especially because less money was on the line. (Tickets were only $20). Red Speedo dealt with atypical issues for a piece of theatre which I think caught audiences off-guard, but ultimately won them over, even if not completely.
What was interesting about Crossing was that after a decent developmental process, the creators presented it as a finished work, but audiences and critics felt it was unfinished. This shows how new plays have very different expectations than an established piece of theatre, which is more or less "set in stone" pre-production. People seemed much more preoccupied with the production values of Crossing than they did the others, which I think says something about the show's effectiveness in capturing the audience.
I think of the three shows, The Argument, which was the most classic and accessible show production-wise also had the most contentious and dangerous message. Discussing abortion always sparks debate, and so it is a risky subject to present to an audience. I think it worked the best as a piece of theatre than the other two because it was clear about what it set out to do and didn't try to surprise the audience thematically or theatrically but still seemed fresh and exciting. I think audiences appreciated this as well, and the success of the production allowed audiences to have discussions about the issues presented and have a meaningful impact from the show.
I think these three shows were great choices for this project as they all were presented in different manners, with different intentions, significantly different messages, and all had very different audience responses. I really enjoyed doing this project because I not only got to see three great pieces of theatre, but I also got to really think about what I go to the theatre looking for in a new work and how I feel when I walk out of a show. This project will forever change how I look at new theatre and what I think about audience reaction.
Showing posts with label Red Speedo. Show all posts
Showing posts with label Red Speedo. Show all posts
Thursday, December 5, 2013
Wednesday, December 4, 2013
RED SPEEDO at Studio Theatre: The Reaction
Lucas Hnath's play Red Speedo premiered in a lab production at Studio Theatre in Washington, DC earlier this fall, directed by Lila Neugebauer. Red Speedo is the story of Ray, a swimmer on the verge of making the Olympic swimming team, which would bring fame and sponsorships and a completely new life. When doping drugs are found in his team's refrigerator, Ray is faced with the his chance at the American dream and the question of how to deal with the ethics of being a professional athlete.
Studio's Lab "presents stripped-down productions of world premiere plays, giving playwrights in residence the ability to work in an environment of experimentation, collaboration, and discovery," according to their website. Neugebauer explained that she approached this process much like she would any other new play process; she and Hnath held a short workshop to develop the piece about a month before they went into rehearsal, and several significant changes were made prior to the start of the official rehearsal period.
In Neugebauer's eyes, Red Speedo "utilizes pro-swimming and doping as an arena and vehicle for an investigation into what constitutes fairness."As an audience member, this was clear in this new play and the play was not discreet about the message and issues it was trying to start a conversation about. What was unique about the play, in my opinion, was that it took a common issue: that of fairness and ethical behavior, but put it in a new situation that is not commonly shown in theatre or other forms of entertainment.
Critical reviews of Red Speedo also were well tuned into the ethical questions that the play posed. Peter Marks, of The Washington Post wrote "Maybe “Red Speedo” should be subtitled “Nobody’s Clean,” because the coach’s threat to go to the sport’s governing authority with his discovery sets off a cascade of unsavory revelations about each of the characters." This asks the question of whether or not there might have been too many ethical questions posed by the play, and none of the characters served as the moral center.
Hnath chose a very timely subject for his play because "anyone with even a passing acquaintance with sports these days is aware of the investigations into which superstar is using what drugs to achieve better results. So Hnath has the news cycle on his side, and in his conception of Ray, a compelling idea of the modern American athlete as a soulless commodity with a single sellable skill,"Marks wrote.
Studio's Lab "presents stripped-down productions of world premiere plays, giving playwrights in residence the ability to work in an environment of experimentation, collaboration, and discovery," according to their website. Neugebauer explained that she approached this process much like she would any other new play process; she and Hnath held a short workshop to develop the piece about a month before they went into rehearsal, and several significant changes were made prior to the start of the official rehearsal period.
In Neugebauer's eyes, Red Speedo "utilizes pro-swimming and doping as an arena and vehicle for an investigation into what constitutes fairness."As an audience member, this was clear in this new play and the play was not discreet about the message and issues it was trying to start a conversation about. What was unique about the play, in my opinion, was that it took a common issue: that of fairness and ethical behavior, but put it in a new situation that is not commonly shown in theatre or other forms of entertainment.
Critical reviews of Red Speedo also were well tuned into the ethical questions that the play posed. Peter Marks, of The Washington Post wrote "Maybe “Red Speedo” should be subtitled “Nobody’s Clean,” because the coach’s threat to go to the sport’s governing authority with his discovery sets off a cascade of unsavory revelations about each of the characters." This asks the question of whether or not there might have been too many ethical questions posed by the play, and none of the characters served as the moral center.
Hnath chose a very timely subject for his play because "anyone with even a passing acquaintance with sports these days is aware of the investigations into which superstar is using what drugs to achieve better results. So Hnath has the news cycle on his side, and in his conception of Ray, a compelling idea of the modern American athlete as a soulless commodity with a single sellable skill,"Marks wrote.
Audience members were able to connect with the material. Wesley Miller, an audience member I spoke with after the show said that Red Speedo "was more about the relativity of morals because we all do bad things and good things, and you saw this in every character."
On Twitter, audience members tweeted about the scenery and the true smell of chlorine in the theatre rather than discussing the content of the show itself.
Red Speedo's message was very clear to audience members and critics alike, and although people were divided in their reactions (as is with any piece of theatre), the play has a strong message to send to everyone about the difficulties of doing the right thing.
For Neugebauer, one of the challenges of bringing this new piece to life was how "viscerally and technically unrelenting Hnath's work is for the audience and the actors, despite how physically static."As the director, it was exciting for her to watch something that was technically and physically difficult, because it was a genuine obstacle for the cast.
Red Speedo's message was very clear to audience members and critics alike, and although people were divided in their reactions (as is with any piece of theatre), the play has a strong message to send to everyone about the difficulties of doing the right thing.
Sunday, October 6, 2013
Welcome!
Welcome to my blog, My Theatre Review. I'd like to introduce myself to all readers before I get started with the blog.
My name is Max and I am a senior at The George Washington University in Washington, DC and am studying Journalism and Theatre. This blog is going to serve as the centerpiece of an independent study I am conducting this semester on the relationship between theatre and classic theatre criticism and social media.
As a dual Journalism and Theatre major, my interests very much straddle both disciplines not only uniquely, but also how they interact with each other. So much of our School of Media and Public Affairs study at GW is focused in politics, so I want to explore a different side of the media. The media and theatre have a very interesting relationship because the media directly affects audience reaction and also spreads audience reactions.
For my project, I didn’t just want to explore theatre criticism (the most obvious combination of journalism and theatre). So I thought how the media really affects theatre and it does so in two major ways: criticism and social media. Both of these things not only promote a show and make a show more well known, they also can change how people view the piece of theatre and the effect it has on society and audiences.
What is interesting about this project will be tracking how much the combination of audience reactions and critical reviews changes the effectiveness of any political or cultural messages that the plays try to convey to audiences. It will be interesting to observe how this varies between the shows because their genres and subjects are so different.
This idea of intended versus unintended meaning intrigues me and I am also very interested in new plays and theatrical development, so for my independent study I will go to see three new plays around DC, observe audience reaction (through talking to people, Twitter/Facebook, and reviews), and then talk to a playmaker, either playwright or director, and see whether the actual message that the audiences took away was similar to their intended message.
The three plays I will be seeing is The Argument by Alexandra Gersten-Vassilaros at Theatre J, a lab production of Red Speedo by Lucas Hnath at Studio Theatre, and Crossing, a world premiere musical, at Signature Theatre. These are three very different pieces of theatre and therefore will allow for very different experiences, both for me as a scholar and for audiences and their reactions.
My name is Max and I am a senior at The George Washington University in Washington, DC and am studying Journalism and Theatre. This blog is going to serve as the centerpiece of an independent study I am conducting this semester on the relationship between theatre and classic theatre criticism and social media.
As a dual Journalism and Theatre major, my interests very much straddle both disciplines not only uniquely, but also how they interact with each other. So much of our School of Media and Public Affairs study at GW is focused in politics, so I want to explore a different side of the media. The media and theatre have a very interesting relationship because the media directly affects audience reaction and also spreads audience reactions.
For my project, I didn’t just want to explore theatre criticism (the most obvious combination of journalism and theatre). So I thought how the media really affects theatre and it does so in two major ways: criticism and social media. Both of these things not only promote a show and make a show more well known, they also can change how people view the piece of theatre and the effect it has on society and audiences.
What is interesting about this project will be tracking how much the combination of audience reactions and critical reviews changes the effectiveness of any political or cultural messages that the plays try to convey to audiences. It will be interesting to observe how this varies between the shows because their genres and subjects are so different.
This idea of intended versus unintended meaning intrigues me and I am also very interested in new plays and theatrical development, so for my independent study I will go to see three new plays around DC, observe audience reaction (through talking to people, Twitter/Facebook, and reviews), and then talk to a playmaker, either playwright or director, and see whether the actual message that the audiences took away was similar to their intended message.
The three plays I will be seeing is The Argument by Alexandra Gersten-Vassilaros at Theatre J, a lab production of Red Speedo by Lucas Hnath at Studio Theatre, and Crossing, a world premiere musical, at Signature Theatre. These are three very different pieces of theatre and therefore will allow for very different experiences, both for me as a scholar and for audiences and their reactions.
I am really excited for this project and would love any responses, comments, or feedback you can give me!
-Max
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