Richard Lund’s layered, contained performance as recent art school graduate Ken, assistant to abstract expressionist American painter Mark Rothko in the two-hander Red from Ad Astra.
Jayden Popik’s bold and powerful Queensland Theatre debut, as Declan in Mouthpiece, the company’s must-see return to the QPAC stage.
Set Designer Bill Haycock’s transformation of the Ad Astra’s small theatre space into an artist’s studio complete with an imposing set of replica canvasses, in John Logan’s Red.
Chloe Greaves’ detailed production design of fragmented country-house rooms jigsawed together for QUT’s early-in-March presentation of Anton Chekhov’s seminal Three Sisters.
Best Video Design
Nathan Sibthorpe’s stunning video projections, creating a sense of immersion into Queensland Theatre’s world premiere production of David Megarrity’s The Holidays.
Phoenix Ensemble’s dynamic September strut out of the super-fun 2012 musical Kinky Boots.
When the rollicking Pirates of Penzance in Lynch & Paterson’s In Concert production sneak up on the Major-General’s house with Catlike Tread while singing at their top of their Tarantara lungs in the eponymous parodic Gilbert and Sullivan song.
What is red? The answer is multifaceted, audience members discover as the characters of John Logan’s play of the same name debate through a list of the colour’s binary opposition associations – from lipstick to lava and Santa to Satan. The conversation is typical of those between the two-hander’s characters, abstract expressionist American painter Mark Rothko (Francis McMahon), the last artist left of his peers, and his young assistant, recent art school graduate Ken (Richard Lund).
You don’t need to know about Rothko to recognise his type almost immediately as he bombasts his new assistant as to the nature of his daily duties, helping to stretch the canvases, mix the paints, clean the brushes and apply the ground colour…. not painting. Cantankerous and prone to titanic self-absorption, the brash artist projects a paranoid and dogmatic indifference to the world and lack of awareness of others, including Ken, (who he never actually addresses by name), as he monologues about the patient process of art-making and the temporal nature of his painting compared to traditional representational artworks.
While John Logan’s Tony Award winning play is taut in its pacing, it is very much a ‘talky’ work, full of scholarly dialogue and ideas for the audience to wade through. It doesn’t shy away from its intelligence in contemplation about what art is and how it is made, including references to Nietzsche, Sophocles, Schopenhauer, Shakespeare, Byron, Matisse and Van Gogh, just to name a few.
Just as Rothko’s paintings are about the tension between their blocks of colour, so the play itself is about contrasting artistic viewpoints. Drama builds as Ken boldly questions his employer’s theories of colour and, by association, his integrity in accepting a lucrative commission to paint a coordinated series of paintings for the interior of the upmarket Four Seasons restaurant in the new Seagram Building on Park Avenue.
The setting is the pre-eminent painter’s late 1950s New York studio and while the era is never made too apparent, beyond use of a black rotary telephones, Set/Costume Designer Bill Haycock’s transformation of the small theatre space into an artist’s studio complete with an imposing set of replica canvasses, is impressive. And lighting (consultant David Walters), works well to create nooks and crannies within the set. Indeed, attention to detail is evident throughout and immediately apparent from introduction of characters attired in paint speckled clothing and shoes.
The relationship between the two characters is what endures at the core of the work’s drama. To Rothko, artistry is a job more than a calling; from his perspective Ken is never more than an employee and Jackson Pollock was but a tragic bohemian. Still, under Jesse Richardson’s direction, the duo works well together, which we best see in an exhilarating sequence in which prime a blank canvas with a base layer, enthusiastically splashing on the colour to the sounds of a cresendoing classic music score.
Not a lot happens in “Red”; its drama is not plot-drive but rather comes from its character studies, so it is appropriate that the McMahon and Lund give such powerful performances. As the bullish Rothko, McMahon presents a convincing, unrelenting portrait of the tormented visionary artist, commanding attention with grandiose movements and exclamation. Lund, meanwhile, engages the audience in sincere articulation of Ken’s nuanced later less-enigmatic arguments, for example, of the conflicts of previous art movements. His layered but still-contained performance elevates the character of Ken to being more than just Rothko’s foil when he shares a gripping revelation of the details of an event from his past.
The art of quality theatre does not come easy, which makes the experience of Ad Asta’s “Red” all the more rewarding. While the play is often intense, there are some lighter comic moments to ease the dramatic tension, such as when the moody American painter explains why he doesn’t ever paint outdoors.
This is excellent theatre presented with an authenticity that makes it feel like a voyeuristic glimpse into Rothko’s life at a point in time that sees him fearing that one day ‘the black will swallow the red’ in foreshadow of the circumstances of his death just over a decade later. And just as tension of the expressive blocks of colour contrasts of Rothko’s trademark large, floating rectangles seem to engulf the spectator, so too are audience members easily absorbed into his “Red” story through its enduring intimations on mortality and the philosophical truths of human drama.
This week saw the presentation of 43 Helpmann Awards in honour of the most outstanding live performances in Australia in the past year, two of which I found particularly notable.
Best Male Actor in a Play:Colin Friels – “Death of a Salesman” (Belvoir)
How wonderful it is to see recognition of the performances within productions of classic texts such as “Death of a Salesman”. I’ve only seen an Edinburgh Fringe production of Arthur Miller’s masterpiece and I long to see it staged in Brisbane, such is my affection for the story of Willy Loman’s rapture for and betrayal by The American Dream. Despite the humility of the Close Up Theatre production, fortunately, its reality did not transcend the work’s place in the theatrical cannon as the greatest play of the 20th century. So much more than the story of a salesman, this is like Gatsby for the everyman and an essential examination of the nature of Aristotelian tragedy in a modern context. Indeed, the poignancy and honesty of the story of the disintegration of Willy Loman’s world when he is made redundant resonates now as much as ever.
Colin Friels can certainly act. He showed this in the Queensland Theatre Company’s “Red” earlier this year when he effortless took the audience on a physical and emotional interpretation of volatile, self-absorbed American painter Mark Rothko’s journey working on his series of artworks for The Four Seasons restaurant. Unfortunately, Friels was not as well-served by the show’s production elements as he could have been. The authentic set was impressive, but could have been used more effectively and though the script contained many thought-provoking monologues of Rothko’s passionate intellectualism, they were overwritten almost to the point of drowning the story in their verbosity.
Best Musical: “Legally Blonde – The Musical”
Am I the only person not tickled pink about this? Because when it comes to “Legally Blonde – The Musical”, I just don’t get it. Yes, it is superficially colourful and camp but is that enough? Since I first became acquainted with the stage Elle Woods in the UK, to me, the answer has been no. Hyperactivity alone does not create a wow factor and comparative to other tightly choreographed shows, it lacks the triumph of a high profile show.