Red
Opening Night: April 1, 2010
Closing: June 27, 2010
Theater: Golden Theatre
Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting. Red is a moving and compelling account of one of the greatest artists of the 20th century whose struggle to accept his growing riches and praise became his ultimate undoing.
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April 1, 2010
They are the tantalizing first words of "Red," John Logan’s engrossing, often enthralling new play about art, an artist and the act of creation.
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April 1, 2010
Red" may be all talk and no action — but what talk! Scribe John Logan sends American abstract impressionist painter Mark Rothko into battle with his demons in this electrifying play of ideas, and the artist’s howls are pure music. Alfred Molina is majestic as Rothko, defying the future he reads in the face of Eddie Redmayne, who holds his own as Rothko’s young assistant. Although Michael Grandage’s muscular production was trucked in from the Donmar Warehouse, where it preemed last year and was nommed for three Olivier Awards, the show feels as if it’s come home to Broadway.
READ THE REVIEWApril 1, 2010
In the Playbill notes for Red (* * * out of four), John Logan’s new work about the painter Mark Rothko, historian Simon Schama tells us that Rothko was, for all his demons, "far merrier than the legend of gloom-burdened genius allows."
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April 1, 2010
Art gets talked about a lot in John Logan’s "Red." And it gets made as well: The play’s two characters — abstract expressionist star Mark Rothko and an assistant named Ken — mix paint, stretch a canvas, prime it.
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April 1, 2010
Even before you see his eyes, you’re aware of the force of his gaze. Portraying the artist Mark Rothko, Alfred Molina sits with his back to the audience at the beginning of “Red,” John Logan’s intense and exciting two-character bio-drama, which opened on Thursday night at the Golden Theater. Yet the set of his neck and shoulders makes it clear that he is staring hard and hungrily, locked in visual communion with the object before him.
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