‘Gruesome Playground Injuries’ Review: A Painful Yet Poignant Journey

Two chairs, two garment racks, two souls — in the Loeb Drama Center, the doors to the dimly-lit Ex provided a gateway to the exploration of the lives of two fatefully intertwined characters, each with their own scars that never seemed to fully fade.

Growing up has never looked so painful, yet it was that exact conveyed pain that made this Harvard-Radcliffe Dramatic Club production so enthralling. Directed by Texaco U. M. Texeira-Ramos ’26, “Gruesome Playground Injuries” is not a conventional love story. Written by playwright Rajiv Joseph, the play follows Kayleen (Lauren E. Mei ’27) and Doug (Andrew A. Spielmann ’25), whose bond builds through their shared attraction to pain and the resulting emotional journey of navigating life’s complexities. A unique, non-linear look at the stages of their lives foreshadows Kayleen and Doug’s relationship, ensuring that the gravity of their connection is understood from the first moment the characters lock eyes.

In the black box venue, the limited space allowed for little error during productions. For Mei and Spielmann, this was no concern. With palpable chemistry and effortless line delivery, their commitment to the characters made each of the eight scenes appear more like a recalled memory: simple yet mesmerizing. The intimate space made the journey more personal, the waves of emotion more immediate. From Kayleen and Doug’s first encounter in the school nurse’s office at age eight to their most recent at age 38, Mei and Spielmann carefully guided audiences through the depth of their character’s magnetic relationship, all while flawlessly using the entirety of the stage to engage all sides of the house.

Mei’s acting deserved its flowers — the range within her portrayal of Kayleen, from the little girl fidgeting in her chair to a grown woman returning from her father’s funeral, was pure magic. Transitioning to each phase of life with ease, Mei provided an immersive experience, enticing the house to fall into her character’s world. Spielmann, too, deserved applause. With quick, witty delivery, comic timing, and endless charm, his portrayal of Doug gave viewers no choice but to root for his success, despite the character’s inability to give up fireworks for his own good. Amongst their many strengths, Mei and Spielmann’s authenticity sold the production. With subtle mannerisms, sharp exchanges, and nonstop vulnerability, they fruitfully provided the different perspectives of each character, driving home the raw connection the two share.

The characters are not the only ones being vulnerable — so are the actors. Between scenes, Mei and Spielmann changed clothing in front of the audience members. Returning to an even dimmer stage than before the play began, the actors made the most of the space they had by visibly changing into the younger and older versions of their characters. Besides the wardrobe change reflecting the passage of time in a more tangible way, the process almost felt like an ode to the openness of Kayleen and Doug. By inviting audiences into a typically private act, Mei and Spielmann further blurred lines between the vulnerability of the characters not just within themselves, but with those watching from afar, too. In the same vein, the decision to have a subtle music track play in correspondence with each scene in the background of the venue further brought audience members into Doug and Kayleen’s world.

Amongst several captivating moments, one of the most striking examples of Texeira-Ramos’ directing came from Scene Four, “Age Twenty-Eight: Tuesday.” When Kayleen finds herself visiting an unconscious Doug in the hospital, her three props — the hospital chair, her lotion, and her bag — are all that’s alongside her when she explicitly expresses what has been lingering the entire time: she deeply cares about Doug. Working with lighting designer Jodie Y. Kuo ’25, Texeira-Ramos’s decision to keep Spielmann hidden behind a blurred screen added to the weight of the scene. When Kayleen reached for Doug’s hand, despite the lack of physical response, his shadow sat up behind the screen, noticeable because of a backlight to symbolize his presence and awareness of the situation. While simple, the addition made all the difference in understanding the soul tie that inevitably built over the years.

There is no doubt that the Harvard-Radcliffe Dramatic Club is chock-full of talent, and “Gruesome Playground Injuries” was a testament to that craftsmanship and commitment. With a little introspection, one may find ghosts within them that haunt their thoughts, their livelihoods, and relationships with others, whether from childhood or not. It is how we advance through life in spite of the scars, however, that we grow the most, and for Kayleen and Doug, their journey was only just beginning.

“Gruesome Playground Injuries” ran at the Loeb Ex from Feb. 20 to Feb. 23.

—Staff writer Emily G. Fallas-Chacon can be reached at emily.fallas-chacon@thecrimson.com.