Red

After the budding young artist Ken enters the warehouse-like studio of Mark Rothko -- only to be told he’s there only as an employee and not to be parentally, spiritually, psychologically guided or taught -- we get ready for a Visiting Mr. Green (or Butley or even Educating Rita) type of play. Yes, in a way, over almost two years of Rothko’s fathering, guiding, teaching, we get a familiar drama. And in the Socratic dialogue (“My Dinner with Andre” anyone?) at its heart, we get one typical of those I often experienced seeing from English and theater-department candidates for advanced degrees in playwriting.

So what makes Red better, more absorbing than others with similar situation and structure? For me, it’s the interesting character study of a real man and artist -- personified in activity, feeling and thought in which viewers participate, plus how much one learns about his art in his time and in all times.

The frame of John Logan’s painting of Rothko is his decision in the late ‘60s, when his abstract impressionism was fading in popularity, to accept a commission. It’s a series of murals for The Four Seasons restaurant in New York. How and why would that be done? Finally, especially after challenges from Ken, will he do it?

Successive canvases display the tensions between the colors red (emotion, creation, a positive for Rothko) and black (logic, challenge, nothing). A pivotal scene has Rothko and Ken in a fast-paced ballet painting a typically huge white canvas with a maroonish red. It’s to be the background for art to be contemplated.

As for temperaments, Ken changes from mild acceptance of Rothko’s pronouncements to a debater. In JD Taylor’s interpretation he becomes almost a revolutionary. It’s a fine way to challenge a rebel against art of the past.

Mark Zeisler hews to the master’s adamant beliefs in an uncompromising way throughout. When sitting contemplating a canvas (as he believed all art should be treated), viewed from the side, his face, hair, stance reminded me of my mentor regarding stage design, Mordecai Gorelik, another Russian-born Jew with original ideas informing their art.

Gorelik, first champion of stage design as metaphorical, would have approved of James Kronzer’s set, importantly and perfectly lit by Gina Scherr. I’m sure participation of the Ringling Museum assured the right color usage in props as well as Ken’s preparation of canvases. Every aspect of technical work is museum quality.

Red the play and, as well, the color to be contemplated in Rothko’s work prompt one to wish to return to them for future viewings.