Review by Emily Werner.
Patrick Marber’s The Red Lion is the closing performance of Eclectic Full Contact Theatre’s 14th season. Premiering at the National Theatre in London in June 2015, the play has been noted for its portrayal of non-league European football (soccer to us) and its exploration of integrity versus success. While The Red Lion showcases three strong actors across generations, the production struggles with uneven pacing and only fully captures the audience’s attention as it nears its conclusion. It is a good play for soccer fans and those who have experience in the sport.
When a semi-professional football club brings in a promising young recruit, expectations of recognition and success begin to bubble in the locker room. Ambitious player Jordan (Octavio Montes De Oca) finds himself between power-hungry manager Kidd (Andrew Pond) and once-successful player turned caretaker Yates (Daniel Houle). As Jordan experiences early success on the field while concealing personal struggles, he becomes caught in a larger conflict between ambition and principle embodied by the two older men. The play also gestures toward themes of individual versus collective ethics and various paths to success and greed.
The three actors deliver emotionally grounded performances. Houle’s Yates is a man deeply rooted in the game, portraying both a love for the sport and a lingering hope for its integrity. In Jordan, he sees the possibility for renewal, while in Kidd he recognizes the encroaching influence of greed. Pond, also the company’s co-artistic director, leans effectively into Kidd’s opportunistic nature, presenting a character willing to bend ethics in pursuit of success.
Montes De Oca brings a layered performance as Jordan, capturing both the excitement of a young athlete on the rise and the weight of unspoken struggles. Though not explicitly stated, the character’s battles with addiction and past trauma are subtly conveyed through physicality and restraint, adding depth to his performance.
Director Stephanie Murphy presents the central moral dilemmas with clarity, but the production’s pacing occasionally lags, diminishing the tension the script works to build.
Jeremiah Barr’s scenic design is a highlight, offering a detailed and immersive rendering of a southern England changing room. Michael Meschbach’s lighting design effectively underscores shifts in mood, though at times it feels overly pronounced, with transitions that momentarily pull focus from the action.
The Red Lion ultimately finds its footing in its final moments, where the emotional and moral stakes sharpen into something genuine. While the flow of the play is a little uneven, the strength of its performances ensures a resonant finish. Eclectic Full Contact Theatre’s season closer may not be entirely cohesive, but it offers thoughtful commentary and engaging acting to leave audiences reflecting on the cost of success.
The Red Lion by Eclectic Full Contact Theatre continues until May 16 at Bramble Arts Loft, 5545 N Clark St. Running time is two hours including one intermission. Tickets (starting at $30) and more information are available here.
Emily Werner is a theater critic and administrator located in Chicago. She works at Lyric Opera and is a board member of Porchlight Young Professionals at Porchlight Music Theatre. You can find her articles on her website, Werner's Theatre Reviews or follow her on Instagram at @wernerstheatrereviews.
For more information on this and other productions, see theatreinchicago.com.
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