Only two characters are necessary to paint the joys and hardships artists must endure.
John Logan’s recently written play, “Red,” depicts artist Mark Rothko’s struggle to create a series of murals for the Four Seasons hotels in the 1950s.
Showing at Albuquerque’s Cell Theatre, the Fusion Theatre Company’s production of “Red” is the second off-Broadway production nationwide of the Tony-award-winning play.
“Red” is a gripping drama, shedding light not just on who Mark Rothko was, but on the nature of art itself. Not only does the nature of art come into question, but Rothko’s assistant Ken, who initially hangs on Rothko’s every word, eventually challenges the painter’s every fault.
The play is set in Rothko’s New York studio, which is captured by set designer Richard Hogle. Pieces of Rothko’s murals stand like pillars, ever-present throughout the play. His studio is a temple where he shelters his developing works before releasing them into an unforgiving world.
The only two characters in the play are Rothko, played by Paul Blott, and Ken, played by Charles Gamble. Rothko tells Ken in the first scene that he is not his father or teacher. Nevertheless, their relationship blooms into that of a mentor and pupil. Rothko berates his young assistant, but he also imparts valuable insight and advice. It’s through these interactions with Ken that the audience understands Rothko’s character.
Blott doesn’t try to adopt Rothko’s appearance or mannerisms, but captures the artist’s spirit and myth. The audience becomes familiar with Rothko’s affliction with melancholy.
Ken seems to be more of a literary device than a well-developed character, functioning as a pair of eyes through which the audience perceives Rothko. He also possesses the cliché “deep, dark secret,” signifying the author’s past work writing Hollywood screenplays. However, Ken’s subtle evolution as an enigma is enticing. By the end, the audience is just as invested in Ken’s story as they are in Rothko’s.
Scenes are often accompanied by the classical music Rothko preferred in his studio, sometimes to stunning theatrical effect.
The lights, sound and costumes dazzle and contribute without distraction.
Prior knowledge of Rothko’s work is not necessary to enjoy the play, though the play might stoke curiosity about his work, peers and inspirations. To satisfy that curiosity, Fusion arranged for occasional post-show speeches from the curator of the Albuquerque Museum of Art. The talks delve into the history, works and characters referenced in the play, and the next presentation is on Thursday.
All in all, Fusion’s production of “Red” is the definition of exceptional theater, and reveals the mind of a unique artist and his work.
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Though we don’t see much of Rothko’s work in the play, we see how he looks at his paintings — with a paternal gaze that is equal parts pride, awe and trepidation. “Red” beautifully conveys the power art possesses not only on its audience, but on its creator.
“Red”
by John Logan
Presented by Fusion Theatre Company
The Cell Theatre
700 1st Street N.W.
Thursday, Friday 8 p.m.
Saturday 2, 8 pm
Sunday 6 p.m.
runs through Nov. 20
general $30, students $25
Fusionabq.org
