Red Review
ATYP’s reviewing program was created to give young people a platform to voice their opinions and experiences while developing skills in critical reflection. The views expressed are those of the writer and do not reflect the views of ATYP or its staff.
Harrison Walker & Sophie Newby in Red, 2024. Photo by Robert Hoang – SUDS
09.08.2024
Sydney University Dramatic Society’s (SUDS) production of Red skillfully brings to life this timeless piece who’s central conceit is grappling with the sacredness of art and what it should be. The briskly paced 90 minute production, directed by Georgie Eggleton and Nikki Eghlimi, boldly provides its audience with a primal, sensory experience. From the immaculate set design to carefully curated costumes to strong visceral performances from both actors, this show has so much creativity on display.
As the audience enters the theatre they are immediately, sensorially stimulated. I found the unmistakable smell of paint almost overpowering which, coupled by the crackle of the set on the floor as I walked to my seat, primed me for the theatrical journey I was about to embark on. The practical, lived-in set design by Katarina Butler, Edward Clifford and Aidan Hale, with art consultation by Eduardo Forcadilla and graphics by Alex Mcleay, craft a world that draws the audience in. I was fully immersed by the memorising depth and detail; art tables scatter the stage, large paintings of red and black hang on all walls, shelfs overflowing with brushes, tins and nick-nacks, and a table full of whisky bottles – for the characters to drink while discussing the meaning of life.
Harrison Walker’s portrayal of Mark Rothko finds the man behind the fear-laden words from the script. He expertly brings to life someone battling with his own relevance and place in the art world while torn apart by self doubt and struggling to find the balance. Meanwhile, Sophie Newby’s genderbent Ken gives a whole new meaning to the word multilayered. She expertly weaves her way through emotions as she tries not to trample on Rothko’s entire sensibility whilst also remaining true and carving out her place in the new art movement. Newby masterfully snaps and melts between contemplating the present, her personal, tragic past and what she sees in Rothko’s future.
Harrison Walker & Sophie Newby in Red, 2024. Photo by Robert Hoang – SUDS
All this is added to by Jasmine Jenkins and Justin Leong’s sound design containing a vast array of classical music with some delightfully refreshing cut-aways to jazz. The visual palette of the piece is completed with perfect costume design by Bella Wellstead, Scout McWhinney and Zoe Le Marinel. Rothko’s red and black baggy paint paints, paired with a black button-up, with the sleeves rolled up and splattered with red paint gives the audience everything they need to know before they uncover what those colours mean to him. Furthermore, his outfit is initially starkly contrasted by Ken’s dress shirt, pants and tie (showing they come from very different worlds – or times – or both) before transitioning to a similar pair of paint pants and paint-covered shirt.
SUDS’s Red brings the characters of Rothko and Ken together in order to convey messages about the power of knowledge, importance of intergenerational relationships, and seeing the beauty in passing the touch to those next in line. Walker and Newby’s heartwarming to and fro makes this a show worth seeing, so I give it a 4.5/5.
★★★★1/2
— Ben