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Suddenly Rothko is everywhere, and it’s safe to say he would have liked that. In New York, everyone wants to see Red, John Logan’s play about the artist. In London, the play and Alfred Molina’s confrontational performance for the Donmar Warehouse predictably triggered an outbreak of eye-rolling among the Art Classes. The prospect of yet another melodrama featuring a heroically tormented painter trowelling on the angst in heavy pigment, and monologues about nailing the Tragic to the canvas, brought on an attack of sneering at romantic platitudes; much muttering about Sturm und Drang for the middlebrow. But on the other side of the Atlantic, Rothko’s own side, the play has been received as deep, dark and moving, much like the artist’s late works.
Suddenly Rothko is everywhere, and it’s safe to say he would have liked that. In New York, everyone wants to see Red, John Logan’s play about the artist. In London, the play and Alfred Molina’s confrontational performance for the Donmar Warehouse predictably triggered an outbreak of eye-rolling among the Art Classes. The prospect of yet another melodrama featuring a heroically tormented painter trowelling on the angst in heavy pigment, and monologues about nailing the Tragic to the canvas, brought on an attack of sneering at romantic platitudes; much muttering about Sturm und Drang for the middlebrow. But on the other side of the Atlantic, Rothko’s own side, the play has been received as deep, dark and moving, much like the artist’s late works.
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