Directed by Michael Grandage
Written by John Logan
Starring Alfred Molina & Eddie Redmayne
If you don’t frequent art galleries and museums or if you never took many art classes, the name Mark Rothko probably means nothing to you. You will however recognize the name of some of his contemporaries including Jackson Pollock and Andy Warhol, two artists whose works broke through that haute culture/pop culture barrier. Rothko had a following in his day, and he almost went through with a project that would have solidified his place in public consciousness right next to Warhol and Pollock – but Rothko believed in something more. 
Maybe. The current Broadway production Red traces the relationship of an artist and his apprentice as the former paints, rants, and raves and the other soaks it all in, amidst a tiny bit of protest here and there. If the story seems unremarkable from that summary, then you should know that what makes Red one of the most interesting and riveting new shows is the performances of lead Alfred Molina and brilliant new star Eddie Redmayne.
Set entirely within the drab studio of Rothko, Red starts with Ken (Redmayne) just starting out as the gopher/assistant to Molina’s Rothko, a stalwart man set in his convictions about life, art, and philosophy. Two years pass and their relationship becomes one of back-and-forth. Rothko may be condescending, but the eagerness of Ken allows him to take the abuse and rail back with counterpoints equally as interesting as Rothko’s. The chemistry 
between the two is perfect, but only because one is oil and one is water. Fundamentally, the two don’t mix. They butt heads over and over allowing both Molina and Redmayne equal moments of time in the spotlight as they fire off round upon round of impassioned diatribe. Molina, long established as a theatrical vet, gives no less than a stellar performance as a Rothko embroiled in inner conflict over his consumerism-driven assignment. Every fiery bout he throws has clear undertones of defeat, of wanting to be proven wrong, something Ken isn’t able to accomplish until two years down the road. Broadway unknown Eddie Redmayne deserves special attention for his turn here. It would be easy to hide in the shadow of someone like Molina, but he holds his own and makes a presence that keeps Red from becoming unbalanced. Red is a rare, well-written character study that conjures great performances from both players and leaves audiences all the more pleased because of it.
As a character-driven piece between Ken and Rothko, you could imagine there’s plenty of dialogue – and there is, but what sets it apart from many lesser productions is its caliber. 98% of scripts written never deserve to see the light of day. 1% are truly inspired works 
which, even if they don’t go on to enjoy a long theatrical run, are clearly deserving of it. This leaves a final 1% whose worth isn’t inherent in the script, because the dialogue could be performed as a hackneyed travesty or a truly moving and inspired piece of theatre depending entirely on the actor. Red is the latter. Molina elevates Red beyond a mere two-person play about art’s role in life; he takes the verbose lines, rife with ego informed by a life spent alone with one’s own thoughts, and makes them something more than just hot air. Even as his fatalistic philosophies conflict with the tortured idealism of his young pupil, you can tell that both characters aren’t just fighting to be right. It’s a fight for the validation of their views on what it means to create art.
Is art meant to be loved by the masses or enjoyed by a select few? It’s the concept Ken and Rothko debate up and down under the guise of many different topics ranging from the death of Pollock to the symbolism of a color. Should something be simplified for mass consumption or be left alone in all its complexity so that only a few invested individuals will ever take the time to appreciate it. In an ironic twist, Red takes these messages and bottles them in layers. While easily digestible for those who simply want a night out on the town, the play rewards those willing to sit and think about the arguments Ken and Rothko share.
Now playing at the Golden Theatre
