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Set in the late ’50s during the transition between Abstract Expressionism and the emergence of pop art, Red offers a glimpse into the struggles—inner and outer—of the artist Mark Rothko, as he works to complete the Seagram murals for the newly opened Four Seasons restaurant. Directed by Cynthia Levin, this production has universal appeal with its quick, albeit dense dialogue, and humor-spiked dramatic timber. The actors move seamlessly within the naturalistic set of Rothko’s studio, complete with accurate touches of the artist’s own mediums and vices. Not often do you see a production so fully realized as this one; it shouldn’t be missed.

Fueled by the masterful performances of Jim Birdsall as Mark Rothko and Sam Cordes as his young assistant, Ken, Red demands the audience’s attention from the start, posing the question, “What do you see?” The two actors balance one another in performance and character. A fine veteran of the stage, Birdsall as Rothko is a dominating, arrogant force to Cordes’s naïve and somewhat fragile Ken, each representing the polar ends of an artistic career.

Transcending the norm of biographical plays, John Logan’s script unabashedly exposes the creative process and passion shared by almost all artists. Even for those in the audience who may not be familiar with modern or contemporary art, Redinvokes an appreciation for and perhaps an understanding of Rothko’s work, often referred to in the play as “those fuzzy rectangles.” Whereas the New York production used actual Rothko paintings as set dressing, the Unicorn design team is able to capture the power of the originals by leaving their facsimiles partially draped, just enough to familiarize the audience and hint at the vision within. Another subtle touch was the use of diegetic sound design, as actors changed record after record, on a small cabinet player, to suit their character’s particular sentiment; Mozart for Rothko, jazz for Ken.

As might be expected for a two-character drama, the audience is sometimes treated to bouts of philosophical waxing, which could feel pedantic were it not for Birdsall’s vigorous portrayal. The dialogue is ripe with in-jokes about Warhol, Lichtenstein, Pollock, and the pop art movement, and the comparison of Pollock’s death to Rothko’s commissions prompts a twist on the familiar artistic quandary, is a tragic death akin to “selling out?” Birdsall and Cordes approach these platitudes with the simple statement of, “It’s not cliché if it’s true,” which might be the case, or might just be another cliché. Once again, the play leaves it to the audience members to answer for themselves: “What do you see?”

REVIEW:
Unicorn Theatre
Red
Runs September 20 through October 2 (reviewed September 20, 2011)
3828 Main Street, Kansas City, MO
For tickets call 816-531-7529, ext. 10, or online at www.unicorntheatre.org

Top Photo: Sam Cordes and Jim Birdsall in Red