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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.

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  Topics: Theater , SpeakEasy Stage Company, Theater, Arts,  More more >
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[ 01/16 ]   "Dance/Draw"  @ Institute of Contemporary Art
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ARTICLES BY CAROLYN CLAY
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  •   RED EXPLORES ROTHKO'S EMOTIONAL PALETTE  |  January 10, 2012
    Mark Rothko sees red in Red — and not just when staring hard at his iconic Seagram murals.
  •   DAVID WHEELER, 1925–2012  |  January 11, 2012
    Why did news of David Wheeler's death last week come as such a shock?
  •   APOLLINAIRE'S PROGRESSIVE UNCLE VANYA  |  January 04, 2012
    Guns go off in Uncle Vanya. And in Apollinaire Theatre Company's production (at Chelsea Theatre Works through January 22), the title character is one of them.
  •   DUELING STAGES  |  December 20, 2011
    It's been the visitors versus the home teams this year.
  •   KATHLEEN TURNER CAN'T SAVE HIGH  |  December 13, 2011
    The most shocking thing about High (at the Cutler Majestic Theatre through December 11) is not that Kathleen Turner plays a nun.

 See all articles by: CAROLYN CLAY

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