- Written by: John Logan
- Directed by: Benji Stockton
- Must be 18 years or older to audition
- Be advised of the adult language used in this play
- Cast size: 2
- Cast Info: Mark Rothko, an American abstract expressionist painter in his 50’s Ken – in his early 20’s is Rothko’s new assistant
- Read through: Sunday, October 4
- Rehearsals begin: Monday, October 12 and continue every Monday, Tuesday, and Thursday 6:00pm – 10:00pm
- Show dates: Thursday, November 12 – Sunday, November 15
- If passed on, RED will also be the ACT’s Community Theatre Competition show that will be taken to the American Association of Community Theatre Nationals Competition in Louisville, Kentucky.
- Possible competition dates: Louisville’s state-of-the-art Kentucky Center for the Performing Arts will be home to AACTFest 2021, AACT’s national theatre festival, June 14-19, 2021.
WHAT TO PREPARE
- On Monday, September 21, a link to an audition form will be posted on The ACT’s social media and through our emailing list. On the form, state the character for which you are auditioning.
- Once you submit your audition form, a monologue side will be emailed to you.
- Those auditioning for Mark Rothko, choose 1 monologue from the 2 sides provided in the email.
- Those auditioning for Ken, choose 1 monologue from the 2 sides provided in the email.
- Only submit monologues that are provided.
- Upload only 1 audition video.
- Include a FULL BODY slate at the beginning of your video telling us your name, age, and which monologue you will be performing (i.e. Rothko #2 or Ken #1).
- For the monologue scene, frame yourself in the camera from mid-torso to the top of your head. Be sure to check lighting and sound so we can see and hear you clearly.
- Deadline for audition reel submissions are due by Saturday, September 26, 2020 at 11:00 p.m.
- If additional material is needed, you will be contacted by the director.
- There will be a section on your audition form for you to list all conflicts.
- Please list all prior commitments that could potentially conflict with rehearsal times.
- List conflicts for all 7 days of the week including times.
- Since there are only 2 cast members in RED, excessive conflicts will affect casting.
- NO NEW OR ADDITIONAL CONFLICTS WILL BE ACCEPTED AFTER THE CAST LIST IS ANNOUNCED AND THE SCHEDULE HAS BEEN MADE.
Master abstract expressionist Mark Rothko has just landed the biggest commission in the history of modern art, a series of murals for New York’s famed Four Seasons Restaurant. In the two fascinating years that follow, Rothko works feverishly with his young assistant, Ken, in his studio on the Bowery. But when Ken gains the confidence to challenge him, Rothko faces the agonizing possibility that his crowning achievement could also become his undoing. Raw and provocative, RED is a searing portrait of an artist’s ambition and vulnerability as he tries to create a definitive work for an extraordinary setting.
Winner of the 2010 Tony Award. “Intense and exciting…a study in artist appreciation, a portrait of an angry and brilliant mind that asks you to feel the shape and texture of thoughts…RED captures the dynamic relationship between an artist and his creations.” —NY Times. “Smart, eloquent entertainment…Logan’s dialogue is a sleight of hand; behind its wallop is a lot of learning…Logan sometimes appropriates Rothko’s epigrams (‘Silence is so accurate’), but his own idiom is well wrought and delightful. He doesn’t just tell; he also shows, at one point having Rothko collaborate with Ken in mixing paint and priming canvases. As classical music blasts from the record player, they slather the paint over the canvas, a balletic, two-minute explosion of activity that deftly conjures what most plays about artists don’t: the exhilaration of the act.” —The New Yorker. “John Logan sends American abstract expressionist painter Mark Rothko into battle with his demons in this electrifying play of ideas, and the artist’s howls are pure music…Rothko is one old lion that will keep roaring until he draws his last breath.” —Variety. “Logan’s success lies in reminding us that painting is a job of work…what emerges is something rare in modern drama: a totally convincing portrait of the artist as a working visionary.” —Guardian (UK).