Red
By John Logan
By John Logan
Exec
Co-Director - Ollie Glen
Co-Director/Producer - Guy Ellis
Special Thanks
Megan Andrews
Raven Meade
Prod
Set Designer - Savannah Duncan
Lighting Designer - Harry Tallis
Sound Designer - Ben Lucas
Stage & Props Manager - Amy Vyskocil-Flint
Costume Designer - Christopher Leaman
Dialect Coach - Erin Martin
Photographer - Josh Bibby
In 1958, the great painter Mark Rothko struggles with the weight of his latest commissioned artworks. At the start of the play, Rothko hires a youthful new assistant, Ken. Throughout the play Rothko struggles with the contrasting goals of commerce and artistic integrity. With a new generation of artists growing in popularity, Rothko cannot reconcile the supposedly simplistic creativity of this movement with his own view of art as intellectualism. Rothko’s short-sightedness and wilful ignorance manifests as vindictive condescension against both Ken and his own artworks. Meanwhile Ken learns to build his own voice by pushing back against Rothko’s arrogance and condescension, focussing on those aspects of art that resonate with himself, and his own tragic childhood.
Red appeared on the spring line-up as the week 1 weekend show, with performances from February 13-15th, 2026.
As the stage & props manager, I was responsible for working with a budget to source props and organize them as presets on-stage. As this was another two-hander play, but this time with no interval, there wasn't a lot of action happening backstage. Instead, a lot of my work was in pre-setting props, especially in regards to setting up paint for the actors to use. A fun extra task in prep for the show was making the cast noodles each night for a scene on stage.
This show, to no surprise, worked a lot with paint, especially live-painting with the actors doing so in a sequence. I worked with the set designer and show exec to make the sequence possible, not just as a stage manager, but also as one of the barn (venue) managers). As soon as the show ended, I was key the clean-up process on-stage, sealing up leftover paint that wasn't used, cleaning paint brushes and palettes and, of course, cleaning the stage floor for stray paint splatters. This was important because audience at the end of shows tend to wait around in the performance space for actors, and we didn't want paint to track around the venue.
In pre-setting props, I made sure to work with actors to ensure they knew what was where, and move props accordingly based on what they would find most helpful in scenes. There were costume changes that happened backstage, and I was there to help with these, as well as clean up any paint on actors between scenes. I had a lot of fun working on this show with all these talented people!