Directed by Iain Sinclair, Little Life Productions’ and Company 16’s staging of RED is a masterpiece. The Tony Award-winning show examines Mark Rothko’s relentless pursuit of artistic purity and intensity.
Written by John Logan, it expands on true events: Rothko’s commission to paint a series of murals for the Four Seasons restaurant in New York’s Seagram building. Logan introduces the fictional character of Ken as a foil to tease out Rothko’s values and struggles as he feverishly fights his ego and insecurities.
There could not be a more fitting venue for this show. Walking into fortyfivedownstairs, you first move through its art gallery before descending into the theatre, where you’re immediately confronted by a large Rothko print. It’s an invitation into the world you’re about to enter.
The backdrop evokes a New York loft, and at its centre sits Dylan Smith as Mark Rothko surveying the audience. The stage is in the centre with the audience surrounding it in an intimate semi-circle. We gradually realise that we, too, are being observed as we represent the unfinished art on the wall. It is a powerful device that sets a tone of introspection, inviting us to confront ourselves through their gaze.
Canadian actor Dylan Smith takes control of the stage the moment he bellows: “What do you see?” His deep, resonant delivery and natural ease on the stage make for a captivating performance.
Newcomer Jordan Briggs is equally compelling as poignant Ken. As his character finds his voice, Briggs rises to meet him. His climactic monologue builds to a confident crescendo that electrifies the room.
The pair work fantastically together on the stage. In a meta way, it is wonderful to see a seasoned performer like Smith mentor Briggs both within the world of the play and, one suspects, beyond it. Together they carry a demanding 90-minute two-hander with impressive stamina and grace.
Bianca Pardo’s set design makes full use of the small space, transporting the audience into Rothko’s paint-splattered studio. The colour red appears in unexpected places throughout the production, a subtle yet persistent echo of the play’s title.
Her costume design smartly incorporates colour too. Watch for how she uses red and white paint splatters on their clothes. We also visually track Ken’s absorption of Rothko’s influence as their styles blend together.
Natalia Velasco Moreno’s lighting design deepens this immersion, evolving with the emotional landscape and guiding us seamlessly through the story’s shifts.
At its core, RED is a study in hypocrisy. We see Rothko denounce his contemporaries for “selling out” even as he paints a mural destined for a “temple of consumerism.” He condemns his friend Jackson Pollock for indulging in his “Bohemian” hedonism as we watch him pour himself drink after drink.
His towering monologues feed our craving for insight, and perhaps our vanity, yet his contradictions push us to examine the distance between our ideals and our behaviour. Beneath the intellectual bravado lies a meditation on impatience.
We are a culture increasingly unable to sit with our thoughts. RED asks us to do exactly that and let the stillness wrap around us. We are asked to move beyond likability and go towards what is real, no matter how painful that may be.
RED is both introspective and energising. Rothko and Ken’s story will linger long after the lights fade. Catch the show during its limited season and sit for a moment with the black and the red.
RED is presented by Little Life Productions and Company 16 and runs to 30 November at Fortyfivedownstairs. 45 Flinders Lane Melbourne Vic 3000.
Tickets: https://fortyfivedownstairs.sales.ticketsearch.com/sales/salesevent/149578
Website: https://fortyfivedownstairs.com/event/red/
Socials: https://www.instagram.com/littlelifeproductions/ and https://www.instagram.com/company16theatre/
Photo credits: Olivia Morison
