While any actor loves to get exit applause from an audience, Bob Ari received an even greater compliment from the George Street Playhouse audience Friday night.
In “Red,” John Logan’s 2010 Tony-winning play, Ari was playing abstract impressionist Mark Rothko. From the side of his mouth, he’d just come out with a sharp retort to Ken, his assistant. The line was so piquant, and the delivery so solid, that Ari was rewarded not only with an oversized laugh, but also with a solid round of handclaps.
But as Ari was exiting, he suddenly stopped and turned back. That’s when the first-nighters immediately short-circuited their applause and became suddenly silent. If Ari’s Rothko had something more to say, they didn’t want to miss it. No one dared run the risk of applause drowning out his next line.
The crowd in New Brunswick was that mesmerized by “Red,” which director Anders Cato is giving a first-class production.
As terrific as Ari is, he’s wonderfully matched by Randy Harrison as the young artist who first comes to assist Rothko and then ultimately criticizes and challenges him.
Actually, Ken is the more compelling role, because the character takes a longer journey. Ostensibly, Rothko barely changes.
Ari shows that Rothko won’t let his veneer of superiority crack, even when he knows he’s losing an argument.
Harrison, on the other hand, makes us all remember our own first days on a job, when we desperately tried to make a good impression.
The accomplished actor shows the paradox any new employee faces in those early days: If you stay silent, you could appear stupid, but if you speak up, you might say the wrong thing.
Ari shows that Rothko relished whichever course Ken took, and would seize the opportunity to criticize him harshly. The point is also made that an artist who stays in his small studio day after day runs the risk of losing his social skills.
Ironically, early on Rothko tells Ken, “Be kind. Be a human being.” He doesn’t realize that he should take his own advice. Instead, he enjoys being in power, acting as if every word he has to dispense is precious. Logan’s Rothko gives new meaning to the word “egomaniac.”
And yet, playwright, actor and director collaborate to ensure that Rothko never quite becomes insufferable. He comes amazingly close, but never crosses the line to the point where we throw up our hands and hate him. That he’s more fascinating than frustrating saves the play.
For after all is said in 90 intermission-less minutes, “Red” doesn’t have much new to offer about art and artists. Logan brings up the age-old argument about art vs. commerce. Is Rothko’s accepting a commission from a trendy restaurant selling out? But doesn’t an artist need money, too?
But while “Red” seems less than fresh in its themes, it’s never as boring as watching paint dry. It succeeds as a study of two disparate characters.
One high point is Ken’s monologue, when he reluctantly divulges his own personal history.
Harrison brings many emotional colors to it. If the play had asked him to leave the stage after he’d delivered it, he, too, would received a good deal of exit applause.
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Written by Peter Felichia - Edited by Marcy