by John Logan
directed by David Emmes
January 22, 2016 - February 21, 2016

Red logo

“What do you see?” Mark Rothko, abstract expressionist, living legend and uncompromising bad boy asks Ken, his seemingly naïve new assistant. It’s 1958, and Rothko is at the height of his glory. In a converted gym deep in New York City’s Bowery, he has begun work on the biggest commission in the history of modern art—and everything is at stake. Rothko’s movement has stomped out cubism, but pop art looms threateningly on the horizon. As canvases are stretched, paint mixed and feverishly applied, Ken’s answers turn into questions, becoming more probing—and provoking—with each brush stroke in this heart-stopping Tony Award winner about the nature of art and artists.

Previews: January 22–28, 2016
Opening Night: January 29, 2016
Regular Performances: January 30 – February 21, 2016

Recommendation: High school and above.  Adult language​ and herbal cigarette smoking.

Running Time:: Approximately ​90 minutes with no intermission.

Learn how to receive special offers at three Southern California museums when you present your Red ticket stub.

John Logan received the Tony, Drama Desk, Outer Critic Circle and Drama League awards for his play, Red. This play premiered at the Donmar Warehouse in London and at the Golden Theatre on Broadway. He is the author of more than a dozen other plays including Never the Sinner and Hauptmann. His adaptation of Ibsen’s The Master Builder premiered on the London’s West End in 2003. As a screenwriter, Logan had three movies released in 2011: Hugo, Coriolanus and Rango. His previous film work includes Sweeney Todd (Golden Globe award); The Aviator (Oscar, Golden Globe, BAFTA and WGA nominations); Gladiator (Oscar, Golden Globe, BAFTA and WGA nominations); The Last Samurai; Any Given Sunday and RKO 281 (WGA award, Emmy nomination).
Learn more about the production, cast & creative team with a peek into the program. Read full artist bios, in-depth articles and more.

Mark Harelik

Mark Harelik (​Mark Rothko) returns to SCR where he previously appeared in In a Garden, Cyrano de Bergerac, The Beard of Avon, The Hollow Lands, Tartuffe and Search and Destroy. He appeared on Broadway in The Light in the Piazza and The Normal Heart and off-Broadway in Old Money, The House in Town and The Beard of Avon. His film credits include Trumbo, 42, Election, Jurassic Park III, For Your Consideration, Eulogy, The Detroit Job, Meeting Spencer and Watching the Detectives. His television credits include “Getting On,” “Agent X,” “The Leftovers,” “Unbreakable Kimmy Schmidt,” “Awake,” “Scandal,” “Breaking Bad,” “Seinfeld” and “The Big Bang Theory.” He has worked regionally at The Old Globe, La Jolla Playhouse, Mark Taper Forum, Seattle Repertory Theatre, Intiman Theatre, American Conservatory Theater, Goodman Theatre, Arena Stage, McCarter Theater, Shakespeare Theatre Company (Washington, D.C.), and many others. He also is a playwright whose works include The Immigrant, The Legacy and Lost Highway.

Paul David Story
Paul David Story (​Ken) appeared at SCR previously in the NewSCRipts reading of Death of the Author. He was a Broadway stand-by for Alan Strang in Equus and played Junius Urban in The Caine Mutiny Court Martial. His off-Broadway credits include Our Leading Lady at Manhattan Theatre Club and The Basic Training of Pavlo Hummel at The Public Theater. Regionally he appeared in The Lion in Winter at The Colony Theatre Company, Romeo and Juliet at Arizona Theater Company, The Tempest and Cymbeline at A Noise Within, The Lion in Winter at the Ensemble Theatre Company, Rosencrantz and Guildenstern Are Dead at Baltimore’s Center Stage and Pride & Prejudice at Dallas Theater Center. He also co-directed My Sister by Janet Schlapkohl at Odyssey Theatre Ensemble. His film and television credits include In Time, American Violet, The Undying, St. Nick, Vartan LLP, “The Mentalist,” “Body of Proof,” “Nip/Tuck” and “Law & Order: SVU.” He is the founder and artistic director of the USC Neighborhood Academic Initiative Theatre Workshop, which supports student literary scholarship through the performing arts, bringing literature to life in South Central L.A. He is a graduate of the University of North Carolina School of the Arts.
Creative Team
David Emmes (Director) is co-founder of South Coast Repertory. He received the Margo Jones Award for his lifetime commitment to theatre excellence and to fostering the art of American playwriting. In addition, he has received numerous awards for productions he has directed during his SCR career. He directed the world premieres of Amy Freed’s Safe in Hell, The Beard of Avon and Freedomland, Thomas Babe’s Great Day in the Morning, Keith Reddin’s Rum and Coke and But Not for Me and Neal Bell’s Cold Sweat; the American premieres of Terry Johnson’s Unsuitable for Adults and Joe Penhall’s Dumb Show; and the Southland premiere of Top Girls (at SCR and the Westwood Playhouse). Other productions he has directed include New England, Arcadia, The Importance of Being Earnest, Woman in Mind and You Never Can Tell, which he restaged for the Singapore Festival of Arts. He has served as a theatre panelist and onsite evaluator for the National Endowment for the Arts, as well as a panelist for the California Arts Council. After attending Orange Coast College, he received his BA and MA from San Francisco State University and his PhD in theatre and film from USC.

Ralph Funicello (Scenic Design) returns for his 29th season at SCR. Among his many SCR credits are designs for Zealot, 4000 Miles, Elemeno Pea, Misalliance, Hamlet, Brooklyn Boy, Major Barbara, The Circle, Private Lives, Six Degrees of Separation, She Stoops to Folly, Buried Child, Good and Da. His work has been seen on and off-Broadway and at many resident theatres including Lincoln Center Theater, Mark Taper Forum, The American Conservatory Theater, Huntington Theatre Company, Intiman Theatre, Seattle Repertory Theatre, Denver Center Theatre Company, Berkeley Repertory Theatre, Guthrie Theater, McCarter Theatre Center, Oregon Shakespeare Festival, Milwaukee Repertory Theatre, The Shakespeare Theatre, Stratford Shakespearean Festival of Canada, Royal Shakespeare Company, Theatre Royal Bath and The Old Globe, where he is an associate artist. He also has designed for New York City Opera, L.A. Opera and San Diego Opera. He has been nominated for New York Drama Desk, Outer Critics Circle, Lucille Lortel and Tony awards. He has received the Merritt Award for Excellence in Design and Collaboration, and his designs have been recognized by the Bay Area Theatre Critics Circle, the Los Angeles Drama Critics Circle, Drama-Logue, Backstage West and the United States Institute for Theatre Technology. He is currently the Powell Chair in Set Design at San Diego State University.

Fred Kinney (Costume Design) returns to SCR after having designed costumes for Sight Unseen and for the Pacific Playwrights Festival workshop of Sunlight. He also designed scenery at SCR for Ordinary Days, A Year with Frog and Toad, Robin Hood, The Emperor’s New Clothes, Lucky Duck, A Wrinkle in Time and the upcoming production of Pinocchio. His other credits include A Flea in Her Ear (A Noise Within); Loch Ness, A New Musical, Passion Play, The Laramie Project: Part 1 & Part 2 (The Chance Theater); Amadeus, Looped (sets and costumes), The 39 Steps, Loot and In The Continuum (Ensemble Theatre Company); Intimate Apparel (San Diego Repertory Theatre); Peter Pan and Wendy (Prince Music Theater); Serious Money (Yale Repertory Theatre); The Price and Old Wicked Songs (Vienna’s English Theatre); and Wit, Common Enemy, Masquerade, Steel Magnolias, Ethel Waters, Tartuffe, Sleuth, Angel Street, Proof, Noises Off, On Golden Pond and Bus Stop (Triad Stage). He is a recipient of the NEA/TCG Career Development Program for Designers, holds an MFA from the Yale School of Drama and is a professor of set design at California State University, Fullerton.

Tom Ruzika (Lighting Design). Red marks the start of Ruzika’s 40th season with SCR, where he has designed more than 90 productions, including co-designing with Donna Ruzika every production of A Christmas Carol. His lighting designs have been seen on Broadway, in national tours, at major regional theatres and at many national and international dance and opera companies. For 10 summers, Ruzika has designed the Broadway musicals at the Hollywood Bowl. His entertainment lighting can be seen at theme parks in six different countries, and his architectural lighting can be seen in prestigious hotels, casinos, restaurants, retail centers and performing arts centers across the nation and in Europe and Asia. He has created a master plan for illuminating the architectural facades of 104 historic buildings on Broadway in downtown Los Angeles. Ruzika has received numerous awards for his contributions to the art and craft of lighting design.

Cricket Myers (Sound Design) is thrilled to return to SCR after designing Mr. Wolf, Zealot, Trudy and Max in Love, 4000 Miles, The Fantasticks, The Parisian Woman, Sight Unseen, Elemeno Pea, The Trip to Bountiful and Three Days of Rain. On Broadway, she earned a Tony nomination and a Drama Desk Award for her design of Rajiv Joseph’s Bengal Tiger at the Baghdad Zoo. She also has designed regionally at the Ahmanson Theatre (Sunshine Boys), Mark Taper Forum (Bent, Steward of Christendom, Joe Turner’s Come and Gone, Vigil, Bengal Tiger at the Baghdad Zoo, The Lieutenant of Inishmore), La Jolla Playhouse (Guards at the Taj, Sideways, The Nightingale), Berkeley Repertory Theatre (In the Wake), Arena Stage (Book Club Play), Kirk Douglas Theatre (Twist Your Dickens, The Little Dog Laughed), Pasadena Playhouse (Stoneface, Above the Fold), The Los Angeles Theater (Carrie) and Geffen Playhouse (Play Dead, Wrecks, Some Girls, Emergency). Myers also designed Tangled, The Musical aboard the Disney Magic. She has earned 16 Ovation nominations and won the Los Angeles Drama Critics Circle Kinetic Award for Outstanding Achievement in Theatrical Design and Los Angeles Drama Critics Circle and Garland Awards.

Kathryn Davies (​Stage Mananger) previously stage-managed OZ 2.5, The Whipping Man, Tartuffe, Reunion, Trudy and Max in Love, Ivy+Bean: the Musical, The Motherf**ker with the Hat, How to Write a New Book for the Bible, Sight Unseen, Topdog/Underdog, Sideways Stories from Wayside School, In the Next Room or the vibrator play, Doctor Cerberus, Ordinary Days, Our Mother’s Brief Affair, The Injured Party, The Brand New Kid and Imagine at SCR. Her favorite credits include Dividing the Estate at Dallas Theater Center, La Bohème at Tulsa Opera, The Mystery of Irma Vep at The Old Globe, Daddy Long Legs at Laguna Playhouse, Tosca and La Fille du Régiment at Opera Ontario, Of Mice and Men at Theatre Calgary/CanStage/Neptune Theatre, The Dresser at Manitoba Theatre Centre, Skylight at Tarragon Theatre, To Kill a Mockingbird at Citadel Theatre/Manitoba Theatre Centre/Theatre Calgary and The Designated Mourner at Tarragon Theatre and the Edinburgh Fringe Festival. Davies also has worked as head theatre representative at the Toronto International Film Festival, Dubai International Film Festival, AFI Fest (part of the American Film Institute), Los Angeles Film Festival and as team leader at Sundance.

Sue Karutz (Assistant Stage Manager) has been part of the stage management team at SCR on more than 15 productions, her favorite being the recent One Man, Two Guvnors. Elsewhere, she has toured with The Black Rider (London, San Francisco, Sydney, Los Angeles), Wicked (Chicago, L.A., San Francisco), Les Misérables (U.S., Canada, China and Korea) and Cirque du Soleil’s Corteo (Russia and Belgium). Off-Broadway, she earned her Equity card on Howard Crabtree’s When Pigs Fly. Karutz has stage-managed for Center Theatre Group, Los Angeles Opera, Pasadena Playhouse, Falcon Theatre, Deaf West, Laguna Playhouse, American Conservatory Theater, La Jolla Playhouse, Idaho Shakespeare Festival, Alpine Theatre Project and The National Theatre of the Deaf. When not at SCR, she often runs “Mickey and the Magical Map” at Disneyland.
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From the Blog
Seeing (and Applauding) RedSeeing (and Applauding) Red
Rousing applause and a standing ovation was followed by a glittering Cast Party for the Red First Night crowd. Check out the story and photos. read more
The Designer Behind RedThe Designer Behind Red
When he started to create the onstage world for Red, set designer Ralph Funicello first turned to the two existing photos of Mark Rothko’s Bowery art studio and then let his imagination more
Insights on RothkoAn Art Expert's Insights on Rothko
Orange County Museum of Art Director Todd Smith looks at Red and the art and times of Mark more
Behind-the-Scenes: Saewert Meets RothkoBehind-the-Scenes: Saewert Meets Rothko
Huge canvas frames​ are part of the design for Red and are created by SCR properties carpenter David Saewart. Learn about his process for making the trappings found in an artist's more
The Many Layers of RedThe Many Layers of Red
Playwright John Logan walked into the Tate Modern Gallery in London and walked out with the idea for a play—Red. Read about the drama’s many layers in this article by Associate Artistic Director John more
Red GlossaryRed Glossary
The play Red includes references to 19th- and 20th-century art, architecture and literature movements. Read a more
Mark Harelik PodcastMark Harelik takes on Mark Rothko
In this edition of the SCR Podcast, actor Mark Harleik and Associate Artistic Director John Glore talk about Red. listen now
Andrew StephensBehind-the-Scenes: Lights Up Backstage
Someone has to make sure that the lights are set up to the lighting designer’s requests. Andrew Stephens is the man who’s charged with that task. Find out how this Kansas City Australian ended up in Costa Mesa. read more
Mark Harelik and David EmmesDirector’s Notes: David Emmes Talks Red
Founding Artistic Director David Emmes talks about why he admires painter Mark Rothko, the subject of more

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