Studio 013’s ‘R.E.D.’ — Proof That “Easy” Doesn’t Mean “Good”
There is a troubling trend within Kingston theatre of ‘easily’ produced shows getting staged because they have very little overhead and offer the possibility of large returns. I believe Studio 013’s R.E.D. is a direct byproduct of this mentality.
A one woman, one robot, one act show set on a space station, R.E.D. is the frugal producer’s dream show. But the cracks start to show almost immediately.
Red lights flash. Stress levels are already at an all time high. Michél (Melissa Radford) drags the bodies of her crewmates onstage to the deafening sounds of their bodies made of packing tape that crackle with every movement. This raucous start is followed by short monologues to Michél’s maintenance robot and sole companion R.E.D. which is punctuated by revelation after revelation—one revelation every five-six minutes.
R.E.D. struggles to maintain that sense of urgency it starts with for the length of its run time, and its attempts to do so with grandiose epiphany. Without a clear understanding as to what exactly the inciting incident was, the audience is left feeling like they’ve been both cheated out of the story, and exhausted by the endless running in circles.
The robot that the show is named for was an excellent attempt at bringing something innovative to the Kingston stage. Overall, the design of it was effective, like an endearing 1970’s Wall-E, but unfortunately, the execution was not as well as one would hope. It was often hard to hear the audio associated with it, and its movements were so small and jerky that it was hard to understand if it was moving intentionally or if its operator (who was seated in the front row for all to observe) was struggling to control its little body. As a technical feat, the concept was worth pursuing but the interruptions to the illusion overshadowed its merit.
The robot’s technical difficulties were unfortunately the first of the technical interruptions, both in the design and direction of the show. From hearing equipment declare “Bluetooth Connected.” mid-show to not being able to hear any of the show’s audio cues, sound design was clearly an issue for this future dystopian.
For the second half of this one woman show, our heroine sat behind a desk and monitor, making her only partially visible. The visual obscurity was exacerbated by Michél’s dishevelled hair which further interrupted the audience’s ability to understand what was happening. Douglas Connor’s direction in blocking and costuming lacked purpose for the story and onstage. With hair and head down, the audience is strugglingto connect with the top of Michél’s head, as it’s all we could see.
Performance in theatre demands one brings their emotions up and out of the body, and into the audience, and Radford’s hunched characterization and shrouded delivery was an added barrier for the audience’s understanding. Overall, the direction did not include the audience in its choices. Something got lost in the translation from process to performance and it made the whole show feel like the creative team had a distaste for the work, for the audience even.
Leaving the show, my companion and I were left feeling like we saw a show that was staged not out of a need to perform or a love of the work, but because it was easy to put on. Radford had her work cut out for her as the sole performer, and the assembly of the robot was certainly an impressive attempt, but that is where the effort on this piece seems to end.
It is telling when people do something for the ease of it rather than for the love of the work.
This is obviously a team with potential, and I would encourage them to find their love for the work again, because this production felt forced. I would love to see these artists put on something that nourishes them, and that they are excited to share with an audience.
I can’t wait for that show.
Studio 013‘s R.E.D. ran from August 5-14 at the Theatre Kingston Fringe, produced in part by the The Kick & Push Festival. Click here for more information.
