Photos by Johan Persson

Red Speedo: A Tantalising Swim Through Masculinity and Morality

Stepping into the Orange Tree Theatre for Red Speedo feels like wading into uncharted waters. With Lucas Hnath’s sharp writing and Chelsea Walker’s deft direction, the small, intimate space brings the audience so close to the action that you might as well be sitting poolside, watching the characters’ lives unravel right before your eyes. The moment the lights come up on the glistening pool at the centre of the stage, you’re hooked – immersed in a world where every ripple holds the weight of looming decisions.

At the heart of this tension is Ray, brought to life by Finn Cole (Animal Kingdom, Peaky Blinders) in a performance as taut and raw as the red speedos he wears throughout the play. There’s something magnetic about his presence – barely clothed, his vulnerability is laid bare for all to see. The choice to have Ray in those iconic red speedos isn’t just a bold costume decision; it’s a statement that speaks volumes about the character’s desperation, ambition, and the fragile line he’s walking.

Let’s be honest – Finn Cole in a speedo is a gift to humanity, one that theatre-goers should thank their lucky stars for. Those speedos don’t just hug his character’s ambitions – they hug everything. And if you’re wondering if they sell replicas in the gift shop, you’re not alone.

Tattooed truths and poolside pressures: Red Speedo delivers high-intensity drama.

Fraser James, as the Coach, is a study in contrasts – gruff yet caring, pragmatic yet morally conflicted. His dynamic with Ray is electric, every interaction charged with the push and pull of authority and dependence. James masterfully navigates the role, making the Coach both a mentor and a manipulator, a man caught in his own ethical dilemma.

Lydia, played by Parker Lapaine, cuts through the testosterone with a sharp, incisive energy. As Ray’s ex-girlfriend and former sports therapist, she brings a grounded perspective to the chaotic world the characters inhabit. Lydia is no mere side character; she’s a force of nature, holding her own in a narrative dominated by male egos. Lapaine’s portrayal adds layers to Lydia, making her both relatable and formidable, a woman who has seen through the facade and isn’t afraid to call it out.

Then there’s Peter, Ray’s brother, played with quiet intensity by Ciarán Owens. As a lawyer, Peter is the voice of reason, the one trying to steer Ray away from potential disaster. But Owens infuses the role with an undercurrent of tension, hinting at the personal stakes Peter has in his brother’s choices. The family dynamics here are rich and complex, adding depth to what might otherwise be a straightforward morality tale.

The small pool on stage is another masterstroke of the production, turning the theatre into a microcosm of Ray’s world. The water shimmers under the careful play of light, reflecting the characters’ emotional states as clearly as their physical ones. In such an intimate space, every splash, every ripple feels magnified, echoing the escalating tension as Ray’s choices close in on him.

With a Mesmerising Sea Serpent Tattoo.

One of the most striking aspects of Red Speedo is the sea serpent tattoo that winds its way across Ray’s back and leg. It’s not just a piece of body art; it’s a symbol of everything lurking beneath the surface – his fears, his ambitions, his inner demons. For those familiar with the significance of tattoos, it’s a visual cue that Ray’s journey is as much internal as it is external. You can’t help but wonder about the stories that ink could tell if it could speak. And honestly, if you didn’t swoon just a little at the sight of Finn Cole flaunting that tattoo in a way that only the bravest of Olympic hopefuls (or thirst traps) could, you might need to check your pulse.

Final Thoughts ★★★★

As the play draws to a close, you’re left with much more than just the memory of an actor in red speedos. Red Speedo lingers with you, challenging you to think about the deeper implications of Ray’s story – questions about identity, integrity, and what we’re willing to sacrifice to get what we want.

Would I recommend Red Speedo? Without a doubt. This play isn’t just eye candy; it’s a thought-provoking dive into the complexities of masculinity and morality, wrapped up in a visually stunning package that’s sure to leave a lasting impression.

Playing at the Orange Tree Theatre, until 10 August 2024.

Disclaimer: Ticket was purchased without any association or endorsement from the theatre.

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