Red

Anyone who saw Moises Kaufman’s 33 Variations (with Jane Fonda) will fondly recall the scene where Zach Grenier, as Beethoven, composes a one of the titular variations by talking through the elements of music he’s conceiving.  That scene was probably single best moment on stage of the play (which had many great moments) because it was a showcase of the moment of creation.

In John Logan’s Red, that moment happens wordlessly, as Alfred Molina & Eddie Redmayne prime a canvas with incredible energy.  Its simply dynamic, and is likewise the best moment in the play.  Although this is more the frenetic preparation for a much more intense creative work, the emotion is nonetheless powerful.

Red, yet another British play about Americans, tells the tale of Mark Rothko’s design and creation of a series of red and black paintings for the Four Seasons’ restaurant in 1958.  Logan’s play is full of Important Artist mantras, but it generally executes them well.  There’s some stammering, a reflection on Rothko’s contemporary Jackson Pollack, and eventually both a critique and glorification of then-up-and-coming artists Roy Lichtenstein and Andy Warhol.  Parts felt a bit forced, but so much of the play rests on the actors giving strong performances that its hard to tell where some of the writing’s faults are.

The necessary performances are generally strong.  Alfred Molina has always been a joy to watch, and here simply owns the stage.  While Rothko isn’t the most intricate artist, his refusal to eventually deliver paintings he did in fact create is certainly something worth exploring.  And Molina brings forth a tremendous amount of exploration.  He gives range across self-absorption, artistic tyranny, flailing self-esteem, and the joy of creation.  Its not only impressive, its excellently done.

Eddie Redmayne has a few film credits as the sweet twink, and here is asked to essentially play David to Molina’s Goliath.  Its not an enviable task, and while Redmayne tries to hold up against the full assault of a master of the medium, he’s not entirely up to the challenge.  More than a few times, he’s simply overwhelmed by Molina on stage.  But, there are a few moments, particularly in the defense of the rising stars, where he comes alive.  Alas, those moments are a bit too few.

As director, Michael Grandage does a great job with the staging.  There is movement, incredible lighting, and overall a well-paced one act play.  Occasionally I’ve complained about lazy or offputting stage direction, but there’s none of that here.  Thankfully.

Overall, the play itself might think its grander than it is, but Alfred Molina is certainly a great artist at work.