Red. John Logan
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RED
First published in 2009 by Oberon Books Ltd
521 Caledonian Road, London N7 9RH
Tel: +44 (0) 20 7607 3637 / Fax: +44 (0) 20 7607 3629
e-mail: [email protected] www.oberonbooks.com
Copyright © John Logan, 2009
Reprinted in 2010, 2011, 2012 (twice), 2013, 2018
John Logan is hereby identified as author of these plays in accordance with section 77 of the Copyright, Designs and Patents Act 1988. The author has asserted his moral rights.
All rights whatsoever in this play are strictly reserved and application for performance etc. should be made before commencement of rehearsal to Creative Artists Agency of 405 Lexington Ave, 19th Floor, New York, NY 10174, USA, (Tel: +1212 277 9000). No performance may be given unless a licence has been obtained, and no alterations may be made in the title or the text of the play without the author’s prior written consent.
You may not copy, store, distribute, transmit, reproduce or otherwise make available this publication (or any part of it) in any form, or binding or by any means (print, electronic, digital, optical, mechanical, photocopying, recording or otherwise), without the prior written permission of the publisher. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages.
A catalogue record for this book is available from the British Library.
PB ISBN: 9781840029444
EPUB ISBN: 9781849432214
Cover design by AKA
Cover photography by Johan Persson
Printed and bound by 4EDGE Limited, Hockley, Essex, UK.
eBook conversion by Lapiz Digital Services, India.
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Red was first performed at Donmar Warehouse, London on 3 December 2009, with the following cast and creativeov team:
| ROTHKO | Alfred Molina |
| KEN | Eddie Redmayne |
| Creative Team | |
| Director | Michael Grandage |
| Designer | Christopher Oram |
| Lighting Designer | Neil Austin |
| Composer and Sound Designer | Adam Cork |
Red was first performed on Broadway at Golden Theatre, New York on 11 March 2010, with the following cast:
| ROTHKO | Alfred Molina |
| KEN | Eddie Redmayne |
| ROTHKO UNDERSTUDY | Stephen Rowe |
| KEN UNDERSTUDY | Gabriel Ebert |
| Creative Team | |
| Director | Michael Grandage |
| Set and Costume Designer | Christopher Oram |
| Lighting Designer | Neil Austin |
| Composer and Sound Designer | Adam Cork |
| New York Producers | |
| Arielle Tepper Madover | |
| Stephanie P. McClelland | |
| Matthew Byam Shaw | |
| Neal Street | |
| Fox Theatricals | |
| Ruth Hendel/Barbara Whitman | |
| Philip Hagemann/Murray Rosenthal | |
| The Donmar Warehouse | |
Red was first performed in the West End at the Wyndham’s Theatre, London on 4 May 2018, produced by MGC, with the following cast:
| ROTHKO | Alfred Molina |
| KEN | Alfred Enoch |
| ROTHKO UNDERSTUDY | Ian Drysdale |
| KEN UNDERSTUDY | Sam Perry |
| Creative Team | |
| Director | Michael Grandage |
| Set and Costume Designer | Christopher Oram |
| Lighting Designer | Neil Austin |
| Composer and Sound Designer | Adam Cork |
Characters
MARK ROTHKO
American painter, 50s or older
KEN
His new assistant, 20s
Setting
Rothko’s studio, 222 Bowery, New York City.
Circa 1958-1959.
Rothko’s studio is an old gymnasium. The hardwood floor is splattered and stained with hues of dark red paint. There is a cluttered counter or tables filled with buckets of paint, tins of turpentine, tubes of glue, crates of eggs, bottles of Scotch, packets of pigment, coffee cans filled with brushes, a portable burner or stovetop, and a phone. There is also a phonograph with messy stacks of records.
There is one door leading to an unseen vestibule where the characters change into their work clothes and enter and exit the studio.
Most importantly, representations of some of Rothko’s magnificent Seagram Mural paintings are stacked and displayed around the room. Rothko had a pulley system that could raise, lower and display several of the paintings simultaneously. The paintings could be repositioned throughout the play, with a different arrangement for each scene.
There is also an imaginary painting ‘hanging’ right in front of the audience, which Rothko studies throughout the play.
Alternately, the entire setting could be abstract.
Dedicated to Stephen Sondheimfor reminding me.
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