CurtainUp
CurtainUp
The Internet Theater Magazine of Reviews, Features, Annotated Listings
HOME PAGE

SITE GUIDE

SEARCH


REVIEWS

REVIEW ARCHIVES

ADVERTISING AT CURTAINUP

FEATURES

NEWS
Etcetera and
Short Term Listings


LISTINGS
Broadway
Off-Broadway

NYC Restaurants

BOOKS and CDs

OTHER PLACES
Berkshires
London
California
New Jersey
DC
Connecticut
Philadelphia
Elsewhere

QUOTES

TKTS

PLAYWRIGHTS' ALBUMS

LETTERS TO EDITOR

FILM

LINKS

MISCELLANEOUS
Free Updates
Masthead
A CurtainUp DC Review
Red

Share
What do you see?— Mark Rothko to his assistant Ken
Red in DC
Edward Gero as Mark Rothko and Patrick Andrews
(Photo by Liz Lauren )
The tension between the characters in Red, at Arena Stage, through March 11, is as taut as the canvases that are stretched in readiness to be painted on. The elder of the two is Mark Rothko, the brilliant 20th-century painter. He's played with great force by Edward Gero, an actor who finds every nuance of brilliance, innovation, arrogance and irascibility in his character. As Rothko’s assistant Ken, Patrick Andrews builds his character from diffident art student to sharp-minded and sharp-tongued critic of his boss’s demeanor and his art.

Both actors are superb in their roles. As one ascends and the other descends and the balance of power between them shifts, we learn more — but not enough — about what made the Russian-born Rothko the acerbic, egocentric son-of-bitch that he was. He rails against the “thinky-talky Jews” of Portland, Oregon among whom he spent his adolescence. The mere mention of artists, such as his frenemy Jackson Pollock and the younger generation of painters like Andy Warhol, sends him into a tizzy.

One scene in the 100 minute long play that stands out above the rest is Rothko’s and Ken’s priming of a canvas. They slosh on the paint as if in a fury, totally absorbing them and the audience, and when the priming is done, both painters fall into what seems like a post-coital trance as they look at their creation.

Patrick Andrews as Ken begins as a tightly-wound coil. Diminutive in size and taciturn he seems to be over-powered by the stocky Rothko. But his character is made of stern stuff — probably the result of his having spent time in foster homes after the murder of his parents — and his strengths and integrity reach a boiling point as he challenges Rothko’s acquiescence to capitalism and commercialism. Their argument is raw and intense theater, beautifully performed.

Red is also beautifully staged. Director Robert Falls lets his artists have their say equally. His direction is flawless. Todd Rosenthal’s set, a re-creation of Rothko’s no-frills New York studio seems very realistic, a place where thought abounds and painting is foremost.

Watching the painters mix paint is quite mesmerizing. It makes the audience think about color in ways that are, for some, novel. Rothko’s abhorrence of natural light makes lighting more important. How color changes depending on light as emphasized by Lighting Designer Keith Parham is revealing. Richard Woodbury’s Sound Design and original compositions enhance the action whether the record player is spinning Beethoven (Rothko’s choice) or Coltrane (Ken’s preference.) This production was previously performed at Chicago’s Goodman Theatre. The original production at London’s Donmar Warehouse, with Alfred Molina and Eddie Remayne, was subsequently transferred to Broadway, where it won 6 Tony’s. (Elyse Sommer's review).

Playwright and scriptwriter John Logan says on Arena’s blog that Red is about young/old, red/black, teacher/student and father/son. How one supersedes the other is at the heart of the script; however, those points are repeated a little too often. It’s a small quibble but, I think, justified. It would be a pity, however, if the American theater lost John Logan’s dramatic voice as his career is clearly on the rise. Hugo, a book he adapted for the screen, is up for 11 Academy Awards.

Red
By John Logan
Directed by Robert Falls
Cast: Edward Gero (Mark Rothko); Patrick Andrews (Ken).
Director: Robert Falls
Set Designer: Todd Rosenthal
Costume Designer: Birgit Rattenborg Wise
Lighting Designer: Keith Parham
Original Composition and Sound Designer: Richard Woodbury.

Running time: 100 minutes
From January 20 through March 11, 2012.

Arena Stage/Kreeger Theater, 1101 Sixth St., SW; Washington, DC; 202-488-3300; www.arenastage.org
Tickets: $40-$85.

Review by Susan Davidson based on January 28 at 8 pm performance.

REVIEW FEEDBACK
Highlight one of the responses below and click "copy" or"CTRL+C"
  • I agree with the review of Red
  • I disagree with the review of Red
  • The review made me eager to see Red
Visit Curtainup's Blog Annex
For a feed to reviews and features as they are posted add http://curtainupnewlinks.blogspot.com to your reader
Curtainup at Facebook . . . Curtainup at Twitter
Subscribe to our FREE email updates: E-mail: esommer@curtainup.comesommer@curtainup.com
put SUBSCRIBE CURTAINUP EMAIL UPDATE in the subject line and your full name and email address in the body of the message
Book Of Mormon MP4 Book of Mormon -CD
Our review of the show

Slings & Arrows  cover of  new Blu-Ray cover
Slings & Arrows-the complete set

You don't have to be a Shakespeare aficionado to love all 21 episodes of this hilarious and moving Canadian TV series about a fictional Shakespeare Company

amazon




©Copyright 2012, Elyse Sommer.
Information from this site may not be reproduced in print or online without specific permission from esommer@curtainup.com