Logan maintains that his play is less about dueling forces in art than about fathers and sons, and this production gets that — even if Abraham seems likelier to eat Isaac than vice-versa. In the end, of course, Ken finds his teeth, using them to puncture Rothko's delusion that the Four Seasons is a properly reverential home for his work. And it works: the upscale eatery doesn't get the paintings. On the very day in 1970 that the artist committed suicide, a cadre of them arrived at London's Tate Gallery.
, SpeakEasy Stage Company, Theater, Arts, More