Review: RED at New Jewish Theatre is a Stimulating Story About an Artist and His Art

New Jewish Theatre continues their 2024 season with an outstanding production of John Logan’s play RED. Winner of six 2010 Tony awards, RED explores the fictional relationship between artist Mark Rothko and an assistant, Ken, hired to work in his studio between 1958 and 1959. Following his Tony nomination in 2010, Playwright John Logan told Playbill.com that he was inspired to write RED after viewing Rothko’s Seagram Murals in a London museum.  

Rothko was part of the abstract expressionism movement in New York that gained widespread acceptance in the 1950s. When commissioned by the Four Seasons to paint the Seagram Murals he moved into a makeshift studio in New York’s Lower East Side that was a former YMCA gymnasium. According to a 2019 article in Architectual Digest by Nick Mafi, Rothko selected the massive rectangular space because its size was similar to where the finished murals would hang.  

RED paints Rothko as a deeply introspective narcissist showing early signs of manic depression characterized by easily provoked angry outbursts. Actor Christoper Harris captures the high-strung Rothko with his edgy depiction of the vainglorious artist on the verge of a major depressive illness. His Rothko vacillates between pomposity about his importance to the art world and nervousness that abstract expressionism was becoming irrelevant. The commission to paint for the Four Seasons fed his gargantuan ego but also clashed with his obsession of how his art should be viewed. Harris capably captures Rothko’s cerebral conflict with his remarkable performance. 

The consistently outstanding Dustin Petrillo portrays Rothko’s timid assistant Ken. Petrillo’s Ken is a likeable young painter who agrees to Rothko’s employment terms while hoping his presence may stimulate Rothko with an urge to mentor. His intimidation grows into confidence, and he emerges as Rothko’s vocal and contentious alter-ego. Ken challenges Rothko’s convictions and the dynamism in Petrillo’s performance creates authentic mental discordancy. Ken, as opposed being a real person, is more likely a storytelling convention to narrate Rothko’s inner monologue. 

Director Alan Knoll has collaborated with his actors and technical team to create an immersive and satisfying production. Knoll wrings Rothko’s aggravation, anguish, and mental affliction from Logan’s talky script. He delves deep into the mind of the distressed artist who is absorbed by his work and egocentrism and elicits inspired performances from his gifted actors.  

Margery and Peter Spack’s set design magnificently recreates the massive studio space Rothko used to paint the Seagram Murals. Their collaboration with props supervisor Katie Orr replicates Rothko’s works providing perspective in both size and construct. Orr’s rotating canvases and oversized props provide a sense of workspace realism. Jason M. Lawshee’s lighting design captures Rothko’s darkened studio interior that was void of natural light and mimics the artist’s disconsolate mind. Sound designer Justin Smith’s atmospheric music gives Rothko’s studio a creative ambiance that is a soothing juxtaposition to the artists’ manic eruptions.  

The New Jewish Theatre’s production of John Logan’s RED is sensational. Knoll’s directorial vision immerses the audience into Rothko’s studio, his painting techniques, and his fragile mind. Harris and Petrillo’s phenomenal portrayals and the production staff’s sensational work create a stimulating and layered story about both the artist and his art. 

RED continues at New Jewish Theatre through August 11, 2024. Click the link below to purchase tickets.  

PHOTO CREDIT: Jon Gitchoff

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