Reviewed by Susanna Wu-Pong
The Tony Award winning play by John Logan, Red, is the fictionalized tale of American abstract artist Mark Rothko. Though the artistic ambition is less familiar to us than the more familiar worship of financial achievement, Red depicts Rothko (played by David Bridgewater) as a victim of his own critical success. Arrogant, abrasive, egotistical, narcissistic, and driven, Rothko takes a purist, transcendentalist approach to art. Artists must inspire and be 
inspired; artists must not be commercial or popular (i.e. producing what Rothko refers to as mantle art); artists must be starving to have credibility. Artists are gods who create anthropomorphized masterpieces that can be appreciated by only uncommonly worthy and savvy viewers. Rothko’s own passion and obsession drive him to commercial success and a moment of truth about whether he has ultimately become what he despises.
Rothko’s foil is Ken (NCY’s Maxwell Eddy in his debut Virginia performance), a young studio assistant who is bluntly informed by Rothko upon hiring that the young man will become neither apprentice nor friend. Ken is as down-to-earth and compassionate as Rothko is ethereal and contemptuous when it comes to their view of humanity. Ken accepts death as a fact of life; Rothko fears being swallowed up by his darkness and underlying sense of unworthiness. The two share a fascination with the color red, which reflects both Rothko’s passion and Ken’s tragic past.
The story unfolds within Rothko’s studio, a three-sided set where the audience may serve as either canvas or display wall for Rothko’s creations. The effect of set paired with the intimate Theater Gym gives the audience a sense of being a fly on the studio wall, almost feeling the need cower (even from the back row) while paint is literally flying during an energetic paint slathering scene. The set, designed by Jacob Sailer, is a highlight of the production, which reflects a collaboration between Artistic Director Bruce Miller and the Richmond arts community. It’s important to note that VMFA curator John Ravenal consulted on Rothko and the artistic movement of his time and Sarah Eckhardt, also of VMFA, provided dramaturgy. Several local visual artists advised the actors on the mechanics of painting. Sarah Grady’s costume work felt so authentic that I found myself wondering whether the cast engaged in an all-night painting party to acquire the perfect paint splatter accents.
Eddy plays Ken to perfection, adopting just the right composition of awe, inquisitiveness, kindness, provocation and intellectual honesty to influence the grandiose Rothko. Bridgewater is Rothko, from the minute we enter the theater to the final scene. Bridgewater’s portrayal is undoubtedly among his finest performances that we fortunate and grateful Richmonders have ever seen. As a frame of reference, you may have caught him in Virginia Rep’s The Crucible or Of Mice and Men. Together, Bridgewater and Eddy engage in an intimate tango with the precision of the masters they are.
See Red at Virginia Rep’s Theater Gym through June 16. Students and other groups should look into discounts and rush tickets for this one. For showtimes and tickets, visit www.va-rep.org or call (804) 783-1688.
