Red

‘Red’ is the latest striking play by 50 years old American-Irish playwright, John Logan, who gained an Academy Award nomination for co-writing the Best Picture-winner, ‘Gladiator’, in 2000.

In late 2009, he produced this dramatisation of the life of Russian born, American artist Mark Rothko; it went on to be nominated for seven Tony Awards, including Best Play, plus the 2010 Drama Desk Award as Outstanding Play.

This 105-minute (no interval), adult drama is a Sally Burton’s Onward Production presented at the Subiaco Arts Centre, Hamersley Road, Subiaco each evening at 7.30pm. There is one matinee at 2.15pm on Saturday 20^th August.

Now, aged in his late 50’s, the great Abstract Expressionist artist, Mark Rothko (James Hagan) is working in his Manhattan studio. He is painting a group of murals for the exclusive Four Seasons’ Seagram restaurant. This 1958 commission was, at the time, the largest sum ever paid to an artist for modern art.

          The self-opinionated Rothko bellows orders to his recently hired helper, Ken (Will O'Mahony). Ken is an artist who has just finished college, and his job is to carry out the numerous menial tasks necessary for the creation of his employer’s masterpieces. It becomes obvious to Rothko that this kid has no idea about the way artists think; in fact his new assistant appears to have no knowledge of artists, poets and authors in general. Despite this gap in his training and understanding, the aide thinks that he can express his feelings and opinions with some authority. Naturally the jealous, arrogant but deep-down insecure Rothko is furious, and in a vicious and sizzling manner demolishes any opinions that this enthusiastic young painter may have.

          Rothko goes into great and fascinating detail about his choice of colour, shade, the desired temperament and the light by which he expects his paintings to be viewed, in their eventual ‘temple’. This acclaimed artist, with the help of Ken, then paints the first coat of a large canvas, and then with pride on his face Rothko asks what Ken sees. The answer is a blunt and tragically unexpected reply that stuns even the self-assured Rothko. At last Ken sees a few chinks in Rothko’s armour, will this be the start of a lifelong friendship or the end of the partnership?
  

The thought of watching a play about a modern artist who paints pictures ‘that any child in kindergarten could paint’ may not excite you – in fact as exciting as watching paint dry. Then stop and think about the number of the Impressionists’ life stories that have really fascinated you with their wild living and peculiarities. Chose the best tale and then add to this insanity, an unstable mind and a thrilling storyline and you have ‘Red’. This play turned out to be so very much more than one expected.

John Logan’s first plays were based on two high profile murder cases, his first play tells the story of the infamous rich-kid students, Leopold and Loeb and how they murdered a teenage boy in 1924. This was the same story that formed the base of Hitchcock’s ‘Rope’. Another play was about the Lindbergh baby kidnapping and murder. It is therefore not surprising that Logan has so capably built up the riveting tension throughout this play.

The set (Lawrie Cullen-Tait) was magnificent. When did you ever see a tidy art studio? This packed set has the appearance of decades of dirty brushes, accumulated junk and general art paraphernalia. It was truly lived-in.

Steve Nolan’s well researched costume design included some old plimsolls and a young man’s suit straight from 1960.

Like a magician carrying out a trick, the lighting design appeared so simple and yet was amazingly complex, congratulations to Andrew Portwine. The long final fade was genius.
Director Lawrie Cullen-Tait chose two ‘fine’ (sorry Mr Rothko – exceptional) actors; she skilfully guided them through the numerous facets of Rothko’s character and personality swings. The young helper also was stubborn and tactless with his comments, but next minute would have the audience eating out of his hands. The audience watched in total silence as these two masters of the stage took us through a thrilling, moving and amazing account of this strange and angry artist.

Two outstanding performances – theatre at its best.