Drew Vidal

Poolside play with deep issues

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By John Lyle Belden

“Here is a man…”

In the opening scene of “Red Speedo,” a new drama by Lucas Hnath presented by American Lives Theatre, Peter (Alex Oberheide) is extolling the virtues of his brother Roy (Cody Miley), an Olympic-level competitive swimmer to his Coach (Drew Vidal). Peter, who is also a lawyer, has endeavored in addition to represent Roy as his agent – including working out an endorsement deal with Speedo, the famous global swimwear brand.

Our star athlete who (in this narrative) out-swam Michael Phelps in a club event and made headlines by taking a year on a “spiritual journey” to the desert, is overjoyed at his success while anxious about the Olympic trials that weekend. One moment he doubts, the next he explains the sea-serpent tattoo on his back leaves no doubt which swimmer people are watching. He also wants part of the design’s tail that would be under the suit etched across the leg of his special-edition red Speedo.

However, there is an issue: Performance-enhancing substances have been found in the Club locker room. While a fellow swimmer is implicated, Peter knows that suspicion could fall on everyone, Roy in particular.

Events are further complicated with visits by Roy’s ex-girlfriend Lydia (Paige Elsse), who lost her license as a sports therapist for an unrelated drug-misuse case – an event when Roy and especially Peter were not helpful.

“I wanna be a real person,” Roy laments at one point. But that is not to be. He is a swimming machine with no other skills and an education hindered by spending every spare moment at the pool, putting it all on the line with the singular goal of Olympic medals and the marketing riches that follow. A dancer with Dance Kaleidoscope, Miley does well as an actor in a role requiring a lot of speaking and emoting – his other skillset only displayed by his mostly-visible well-toned body. It’s hard to portray one who may not have quite the wisdom or intellect of those around them without devolving into stereotype, and Miley manages this with minimal “dumb jock” vibes. His odd life carries real consequences, as we witness his struggle for some sort of “normal” he can live with.

Oberheide nimbly portrays a man of noble intentions but slippery morals, swiftly finding his plans on the edge of collapse just as he (and Roy) are about to make it big. Vidal’s Coach is a bit more principled but finds himself tested as well – especially when his own future is on the line. Elisse’s Lydia is the good person who justifies doing bad things for those who she loves, including an interesting twist on two wrongs maybe making a right.

ALT founder Chris Saunders directs, giving us a thought-provoking examination of ethics and human behavior that happens to involve a swimming pool. Speaking of which, a real water-filled pool is set up at the front edge of the Russell Theatre main stage in the Phoenix Theatre Cultural Centre (set design by Matt Mott). It mostly provides the appropriate setting atmosphere, though does feature in a couple of important moments. As Saunders reassured us, there is no “splash zone” for audience members to be concerned about.

Shout-out as well to artist Phoenix Woods for Roy’s “ink.”

“Red Speedo” runs through Feb. 16 at the Phoenix, 705 N. Illinois St. Get tickets at phoenixtheatre.org, info at americanlivestheatre.org.

ALT: Characters seek ‘Sanctuary’ in each other

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By John Lyle Belden

In April of 2001, the DREAM Act was proposed to help undocumented immigrant children stay in the U.S., the only country they have ever known. After the events of Sept. 11, hardening attitudes towards non-citizens and the continually partisan politics of the years that followed made passage of this Federal law ever less likely – you hardly hear about it anymore.

For persons labelled “illegal” there have been a number of Americans who show compassion, and since the 1980s numerous jurisdictions have been declared “Sanctuaries” in which local officials won’t pursue or prosecute immigrants on their status alone. One of these is Newark, New Jersey, where, as we see in the local premiere of the drama “Sanctuary City” by Martyna Majok, life is not necessarily easier.

Despite the rumors of right-wing memes, being in a relative no-enforcement zone is no free ride. Government benefits are still denied, federal officials can pounce at any time, and any small breach of the law can lead to detention and likely deportation. This is the lived experience of a teen boy (Diego Sanchez-Galvan) trying to be just another high school kid with few worries beyond his next math test. However, his mother is considering returning to her homeland – a place he has no memory of – even if she must go alone.

In the first act of Majok’s play, presented by American Lives Theatre and directed by Drew Vidal, we get what is also a fascinating look at the relationship between two best friends, as a young Latina (Senaite Tekle) frequently visits the boy at his home, escaping her abusive stepfather. Scenes are chopped and minced in rapid-fire succession, reflecting the constant staccato stresses of their days – school; bad home lives; sorting their feelings for each other; and keeping out of sight of the government, even if it means letting others take advantage of them. The girl eventually gets a lucky break, and after the boy’s Senior Prom, they form a highly risky plan to give him a taste of freedom as well.

The second act encompasses one fateful evening more than three years later in which feelings and loyalties are questioned and tested with the intervention of young law student Henry (Carlos Medina Maldonado).

I’m leaving out quite a few details to avoid spoilers, but the main character names and the countries of their birth are never given, keeping our attention on the humanity of those caught in what shouldn’t be such a complex and sometimes no-win situation, especially for young souls who just want the same opportunities as everyone around them. This, and the contrasted pacing, make for an engaging experience, sharply pulled off by Vidal and the cast.

For one aspect of the plot to work, note that Act II takes place in 2006, bringing to memory another manner in which American law did not see people as equals.

Sanchez-Galvan gives us a sympathetic character, good humored despite a life that feels like a rodent trapped in a maze. Tekle gives us a great example of someone you easily feel for, yet only think you know. Maldonado’s voice of reason, which edges on cynicism, cuts to the heart of their situation in stinging fashion.

As is customary for ALT, founding artistic director Chris Saunders has arranged for talk-back discussions after each performance, which can include guests involved with the issue of undocumented immigrants.

A play that you will likely think and talk about long after the final bows, “Sanctuary City” is on the intimate Basile stage of the Phoenix Theatre Cultural Center, 705 N. Illinois St., Indianapolis, through Sept. 24. Get tickets at phoenixtheatre.org, information at americanlivestheatre.org.

ALT: The long laborious birth of a vital test

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By Wendy Carson

The Home Pregnancy Test – it is so ingrained in our lives now that you can even buy one at Dollar Tree. However, it was not so long ago that it was created. Prior to this, women had to go to the doctor and not only convince him to test her but also wait about two months for the result.

American Lives Theater launches the world premiere of the play “Predictor,” by Jennifer Blackmer. It tells the story of Meg Crane, the woman who not only saw the flaws in the current system but also persevered to develop the first-ever home pregnancy test.

As is the case with so much of women’s medicine and discoveries, Crane’s name is mostly lost to history. Blackmer delves into the intense, sexist struggles of one woman who knows what she wants and fights the misogynist barriers thrown up against her every effort.

Brittany Magee embodies Crane as a sweet, yet determined woman who is in no way going to allow her voice to not be heard. She sees that the test, previously confined to laboratories, is actually very easy and develops a simple, convenient package for it out of a plastic paper clip holder. All the men she must deal with constantly rebuff this design – declaring she has no idea what women want.

While the rest of the cast play multiple roles and are referred to in the program book as Chorus # 1-6, each is excellent and does embody at least one prime role within the story which I will use to summarize their efforts.

Christine Zavakos plays Meg’s roommate Jodie, an artist and free spirit constantly encouraging Meg to stand up for herself and fight.

Jen Johansen flows between Meg’s mother and coworker. She portrays the lack of knowledge the generations before her were given regarding their own bodies as well as the fears of this newer generation’s need to change things.

Miki Mathoiudakis superbly brings Meg’s grandmother to life with her even more primitive knowledge of sexual behaviors and morality.

Zack Neiditch not only brings us a charming game show host but also the head of the company Meg works for who at first has no time for silly lady things.

Drew Vidal embodies the most toxic example of male ego in the show. He gives us an advertising executive who sees Meg as nothing more than a secretary who knows nothing about business or how to “play the game” and torpedoes her every attempt to prove herself.

Clay Mabbitt gives us the snarky superiority of the lab tech who insists only a (male) lab tech could possibly check the test results (because looking in a mirror for a circle in the bottom of a test tube is a difficult job). This is balanced by his portrayal of a more insightful executive in the company’s marketing department.

This show is Bridget Haight’s directorial debut, and she has done a great job of bringing us the story of a woman’s perseverance in the 1970s world of business (like a more-sexist “Mad Men”). The story is a vital piece of women’s history that was destined to be lost as Crane was only given a patent on her test design. The actual test itself was sold to another company, which sat on the rights to it for ten years before it finally made it to the market, the corporation taking full credit for introducing this important tool for women’s health.

Performances run through May 28 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, or americanlivestheatre.org.

Note that this weekend, the real Meg Crane will be in attendance. She will be part of a pre-show program 6:30 p.m. Saturday, May 13, as well as “Mom, Mimosas and Meg” for Mother’s Day, May 14, available for questions after the performance.