“It’s like seeing food being cooked on stage, we do it everyday but on stage it becomes transfixing.”
Michael Grandage
Almost a decade after its first performance at the Donmar Warehouse, Michael Grandage is reviving his Tony Award-winning production of John Logan’s Red. The performance, featuring Alfred Molina reprising his role as the twentieth century artist Mark Rothko and Alfred Enoch making his West End debut as his assistant, Ken, will preview from 5th May and open on 15th May at the Wyndham’s Theatre.
I recently joined Grandage, Molina and Enoch at their rehearsal space, located in Islington’s Union Chapel, whereby he explained his reasoning for reviving the show and how his relationship to its central themes have evolved over the past nine years.
The rehearsal room is decked out with a variety of Rothko-esque canvases, which Grandage later reveals is purposefully meant to merely evoke a sense of similarity and not an exact replication of Rothko’s work. In addition there are various painting implements, including a working stove where, during the performance, paints are mixed and created in a truly authentic fashion. This is Grandage’s focus at the beginning, as he emphasises why such naturalistic direction is inherent to the central themes, and his particular rendition of Logan’s play. He explains how both himself and the cast ‘learnt the craft [of painting] together – in order to be entirely authentic’ and thus being able to ‘really understand the craft.’ Christopher Oram’s set design sees a recreation of Rothko’s studio space located in New York’s Bowery district in the late fifties. The real studio was based in an old baseball court, signified in the design by the lines drawn onto the floor of the stage which is also replicated in the rehearsal space.
The play demands quite a lot of physical preparation from the actors. Molina, who previously played Rothko in Grandage’s production in both London and New York, states that this revival is a fresh take on the same production and the only integral part remaining from the original 2009 production is purely technical and associated with the artistic tasks within the play, e.g. mixing paint. The most laborious of these is priming a canvas, a scene which Grandage insists is central to the play and reveals that actions that may considered ordinary for an artist, are ‘quite exciting for an audience. It’s like seeing food being cooked on stage, we do it everyday but on stage it becomes transfixing.’ Whilst there is no actual scene of Rothko painting, every other aspect of an “artist-at-work” is explored, viscerally through Grandage’s production.
The original production in 2009 had a relatively short run at the Donmar Warehouse, a venue with a much smaller capacity than Wyndham’s. Grandage, as well as Molina, reveals that this meant although it had a welcome reception later on Broadway, only a small portion of London audiences had a chance to see it. This is one of the main reasons for the revival, as well as how well the play thematically relates to our current sociopolitical climate. The central theme of the play revolves around the classic debate of why art is important, and in a time of ever growing cuts to the arts industry, it seems more appropriate now than ever to reignite such a debate. Grandage also points out his decision to bring the revival to a West End theatre is also to highlight these concerns right in the heart of the non-subsidised theatre world. He believes that by reviving the updated production, in a larger theatre and for a longer run, it already allows for the play to be more accessible than in 2009.
Whilst the central themes of the play tackle the idea of the new versus the established – following a master teaching his student – this provides interesting parallels towards the current state of the industry, the subject itself may still in someway alienate a younger audience who are perhaps less familiar with Rothko. Enoch, however, vehemently believes that the central themes are relatable to all as he admits himself that he was largely unaware of Rothko’s life and work until auditioning for this very play. ‘The script is so well crafted that most people will resonate with its very universal themes’, Enoch claims. ‘It’s watching two intelligent people going “at it”, not different to say, a tennis match between Nadal and Federer, you don’t have to know much about tennis to understand why such an experience is worthwhile’. Additionally, Grandage adds that, as the play explores the idea of young, emerging artists, he too wants to focus on bringing in the new generation of audience members, theatremakers and reviewers by making sure a large proportion of the tickets are affordable for younger audiences.
It seems a revival of such a play as Red, with its central themes more relevant now than ever, could be the breath of fresh air that the West End needs in order to become more accessible for emerging artists and audiences. Perhaps an incredibly naturalistic portrayal of two types of artists making ‘art’ on a series of levels is just the tonic that is needed. As Rothko himself once said, ‘a painting is not a picture of an experience, but is the experience.’
Ever wanted to catch up on some fantastic theatre experiences in the comfort of your own home? Well now you can! Digital Theatre has announced the launch of an online subscription platform that brings the best of live theatre, ballet, opera and classical concerts, to your own screen. Performances can be streamed anytime, anywhere, to any device.
Subscribers will have access to over 65 productions, the majority of which are exclusive to Digital Theatre, including: Simon Russell Beale in The Tempest, Paapa Essiedu in Hamlet and Antony Sher in King Lear, all from the Royal Shakespeare Company; Zoë Wanamaker and David Suchet in All My Sons; Richard Armitage in The Crucible; David Tennant and Catherine Tate in Much Ado About Nothing; operas and ballets from the Royal Opera House and the English National Ballet; and concerts conducted by Sir Simon Rattle and starring the London Symphony Orchestra.
Digital Theatre’s founder and acclaimed Director and Producer, Robert Delamere, commented:
“Britain’s performing arts are world-renowned for their outstanding breadth, quality and diversity. This was the inspiration behind the launch of the world’s first, online, performing arts platform. Digital Theatre collaborates with world-class producing houses to capture and curate their shows and stream them to the consumer in broadcast quality. Up close and personal, for a best-seat-in-the-house viewing experience.”
For £9.99 per month, subscribers get unlimited access to all Digital Theatre’s current and future productions. For non-subscribers, each production is available to rent online for 48 hours, at a price of £7.99.
Justin Cooke, Chairman of Digital Theatre, said:
“Our mission is to make the performing arts accessible to all, irrespective of social, economic or geographic circumstances. The power of digital is providing people, who might not otherwise have the opportunity, with access to fantastic performances, at a fraction of the cost of a typical ticket. We’re broadening access to these phenomenal productions, and preserving their impact for years to come. We aim to bring the drama and emotion of each live performance to the comfort of your home, and for me, this isn’t a replacement for live theatre – it’s a new art form altogether.”
Digital Theatre will continue to add high-profile shows to its platform, including six new Digital Theatre captures and over fifty curated productions from some of the world’s leading producers, all scheduled for release over the next six months.
