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Red (Oberon Modern Plays), by John Logan
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‘There is only one thing I fear in life, my friend... One day the black will swallow the red.’
Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.
A moving and compelling account of one of the greatest artists of the 20th century whose struggle to accept his growing riches and praise became his ultimate undoing..
Nominated for 7 Olivier Awards (2009) and winner of six Tony Awards 2010 including Best New Play.
- Sales Rank: #187475 in eBooks
- Published on: 2012-06-18
- Released on: 2012-06-18
- Format: Kindle eBook
About the Author
John Logan's work as a screenwriter includes Hugo, Coriolanus, Rango, Sweeney Todd, The Aviator, Gladiator, The Last Samurai, Any Given Sunday, and RKO 281. He received the Tony, Drama Desk, Outer Critic Circle, and Drama League awards for his play Red, and is the author of more than a dozen plays.
Most helpful customer reviews
30 of 35 people found the following review helpful.
intention, invention: the creative process
By Constance Slings-Arrows
For anyone fortunate enough to have seen the Donmar Warehouse production of RED with Alfred Molina and Eddie Redmayne it will come as no surprise that John Logan's script yields fresh fruit with each new reading. As literate and passionate exploration of the creative process, the play positively requires--demands--that most important aspect of art--the audience's participation, the audience's thinking. The immediate topical focus of the play, of course, is Mark Rothko, but its ultimate concerns lie far beyond the boundaries of one man's canvas. RED is a masterpiece.
32 of 38 people found the following review helpful.
All the quotations. All the questions.
By John Michael Albert
I'm a sucker for think-pieces like this. I'm old fashioned enough that I actually want to be challenged by art. "Challenged"? Hell, I believe its essential to anyones proof of existence that they be willing to run directly at an oncoming train for the experience of being completely changed by the impact. And, yes, I'm the one with the father who would stand in the museums in the 1950's and say about abstract expressionism, "My kid coulda done that." Or, about Rothko, "If I painted a wall that unevenly, I'd be fired." Thankfully, I eventually moved to Houston and discovered the Rothko Chapel where I spent many quiet, dimly lit hours alone and in the company of friends with those paintings (thanks to Dominique deMenille). I returned to all of this (from New Hampshire) with the PBS broadcast of Simon Schama's Power of Art. The hour on Rothko's Seagram's Four Seasons mural was the climactic, eight episode in the series. All of the quotations are there. All of the questions are there. And the question of money and art gets a full-body slam. (Rothko famously told Philip Johnson, the architect, 'No one who pays that kind of money for that kind of food is going to see any paintings of mine,' and send the commissioning fee, the equivalent of $2 million, back.) Since I saw the Schama first and have watched it many times, I venture that the play dramatizes the contents of the Schama program (same source? collaboration between the authors? zeitgeist?) introducing the catalyst of an artists' assistant. No matter. If you're attracted to think pieces, especially think pieces devoted to contemporary (for me, anyway) art and contemporary issues in art, both the Schama and the Logan were created for you. Here's a two-engined train you should run at with all your might.
15 of 17 people found the following review helpful.
A brilliant play
By chicklit
I had read the play before seeing Alfred Molina's stunning performance on Broadway and the writing simply sang. Logan has created a true masterpiece with delicious roles for actors. A wonderful play and an engaging read! While Colette Freedman's Sister Cities used to be my favorite play, I believe it has been surpassed by this remarkably crafted aria.
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