The Red, which is written by Marcus Brigstocke and directed by Charlotte Peters, is a fascinating conversation between father and son about alcohol addiction. Brigstocke creates a compelling conversation that will have the audience on tenterhooks about the final outcome, with both the threat and temptation of one final glass of red wine hanging above them.
Starring real-life father and son, Bruce Alexander and Sam Alexander, the play follows the 42 year old Benedict having received a letter from his late father, moments after his father's funeral. The letter invites the 25 year sober Benedict to open and raise a glass of Château Latour in honour of his dad. This, understandably, sends Benedict in a slow spiral that leads to a distressed frenzy, as he vocalises the daily battle of addictions. This is structured into a sharp conversation, with Benedict imagining his late father to be present and replying, as he explains his thought process.
The conversation emerges as more than just a clever framework for the Benedict to delve into addiction, but as a welcome discussion into society expectations, familial obligations, and multiple perspectives. The father in turn shares his own struggles with his son's addictions, and later sobriety, in a fascinating new angle. Brigstocke is careful to never villainise the father, through the warmth and understanding of his character and the occasional dad jokes about being dead, which is admirable. This leads to a much richer conversation that feels more authentic.
The Red, which was originally written and performed as a radio drama in 2018 and then adapted for stage in 2019, makes great use of being a filmed performance. The cinematography (Tristan Shepherd) creates a more intimate perspective. This doesn't discredit the show in any regard, perhaps it even elevates it further, with its newfound ability to make cinematic choices and create a visual story. A few shots that feature the bottle between father and son are particularly powerful. This also allows for a more fluid scene transitions between the wine cellar in the family home and the AA (Alcoholic Anonymous) meetings, that seem to take place in a deserted small theatre.
Matt Haskins' lighting design uses light to create a tense environment, playing with shadows in the dimly lit wine cellar. Max Pappenheim uses original compositions to help heighten the more dramatic moments, creating a stronger ambience for the show.
The Red chooses what initially feels like a small topic but easily stretches this into a back and forth conversation. Whilst certain points do repeat, the fast pacing of the writing and the two performances keep the dialogue engaging. The essence of the piece comes from an unbiased position, despite being written from personal experiences, allowing for a relatively logic-led conversation. The show uses metaphors and clear writing to help audiences quickly understand both points of view. Alcohol consumption is so ingrained in the British culture and society, and Brigstocke delves into this as well, with a few fun jabs at the English and the elitism of wine drinkers.
The Red becomes more than a piece of theatre or a show about alcohol and addiction, but rather a safe space to have a serious conversation about the issue at hand. Peppered with memories of Benedict's childhood, where alcohol plays both a positive and negative role, this creative choice further humanises this topic and reminds the audience of the real high stakes of relapse.
The Red is currently available to watch online at Original Theatre Online, alongside lots of other theatre productions that are available with a subscription.
★★★★☆ (4*)
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