This dynamic and passionate play by John Logan focuses on the period in the painter, Mark Rothko’s life—the late 1950s— when he was working on a number of large murals which were to be hung in The Four Seasons, a luxury restaurant in the Seagram Building, at that time one of the most admired new office buildings in New York.
When he first saw the paintings, Logan says, “I walked into that room with those murals and they stopped my heart. . . . Something about the size, the intensity, the seriousness of them, just slapped me across the face....He's important because of his absolute, uncompromising purity. He deeply believed that art mattered. He felt that it should be like a religious experience, and his great dream was to create a space that was like a church. He wanted people to take art that seriously because he believed it was redemptive. He believed that it was important to the human spirit to create art, to experience art, to be open to art because he truly believed it allowed an exultation of the heart and the spirit.”
But, says Logan, “To me the play is really not about art at all, it's not about painting; it's about fathers and sons. I think people respond to the flamboyant grandeur and intensity of the characters, but what really moves them is the father-son relationship. I wanted to write a play about teachers and students, mentors and protégés, fathers and sons. To me the piece has always been very domestic. Rothko had an awareness of young artists and an awareness of responsibility to young artists. . . .”
Last Updated on Monday, 14 April 2014 16:55