RED

Production Cast and Credits

CAST

Dan Kelly (Rothko) is immensely grateful to Bradley for casting him in a role of a lifetime and for Bradley’s steadfast and exhaustive pursuit to make this show extraordinary, joyful, and true. He could not be more proud to be a participant in Boutcher Theater Company’s inaugural production, and sees great things ahead for this wonderful and welcoming company. Dan has been appearing in regional productions for over thirty years, most recently as Councilman Breeding in Umbrella Stage Company’s March 2024 New England premiere of The Minutes by Tracy Letts. Look for Dan next as the Father in the Firehouse Center for the Arts’ production of Sarah Ruhl’s Eurydice next month. In preparing for the role, Dan visited the Rothko Chapel in Houston, and read just about everything there is on Rothko.

He believes the definitive guide on Rothko’s approach to life and painting can be found in his son Christopher’s book, Mark Rothko, From the Inside Out. He is especially fond of its dedication which he shamelessly steals for this production: “For my wife, Lori – my source of perpetual inspiration.”

Chloe Olwell (Ken) is thrilled to be part of this production of RED. She recently worked at Gallows Hill on A Christmas Carol (Christmas Past/Belle/Missy), Forged Muse Productions on As You Like It (Phebe), and GW Shakespeare Co. on Romeo and Juliet (Mercutio). Chloe graduated from the George Washington University last spring, where she studied Theatre and Journalism. While at GW, she had the opportunity to study classical acting at the London Academy for Music and Dramatic Art.

Chloe wants to thanks Bradley, Eric, and Dan for all their incredible work. She also wants to thank her parents for not kicking her out or making her pay rent (yet).

Production Team

Bradley Boutcher (Director and Producer) is so glad to share this piece with you. Bradley has been acting, directing, and performing in the North Shore area for almost ten years, with recent projects including The Trail to Oregon (McDoon and Full Ensemble) with Yorick Ensemble and The Play That Goes Wrong (Max / Cecil) with Concord Players. He's so glad to have had this opportunity to work in collaboration with so many generous local artists, and hopes he'll see you at his next project.

He'd like to thank Kari, his partner, for everything. He'd also like to thank his team, for partnering with him to make this show a reality.

Bradley directed, produced, fight-choreographed, and handled marketing and coordination for this project. He also assisted in creating several of the large murals and small props throughout the show.

Jessica Algard (Scenic Designer) is the Technical Director and Production Manager at Gordon College. She has recently designed the sets for The Tempest, The Fantasticks, and Little Women at Gordon. As well, she directed Hitler’s Tasters for the Gordon Fringe Festival. Previously, she has worked as the TD for Gloucester Stage Company, Master Carpenter at Jean’s Playhouse, and Production Manager at Fresh Ink Theatre. She was also the Boston Troupe Director for American Immersion Theatre, directing and performing interactive mysteries across New England.

She is thankful for the opportunity to design Red and wants to recognize her husband and parents for being ever-supportive and endlessly loving!

Jessica scenic-designed this production, supplied and created props, and created several of the large murals used throughout the show.

Maureen Festa (Costume Design) is thrilled to working on Red, in her adopted hometown of Beverly. Recent work includes: Middleton Heights (The Umbrella world premiere), The Secret Garden (Creative Spirit/Salem Athenaeum); Hedwig and the Angry Inch (The Umbrella); View from The Bridge (The Umbrella); All My Sons (Praxis Stage); Sweeney Todd (Theater Uncorked); and To Kill A Mockingbird (The Umbrella, DASH nominee, best costumes). Maureen's earlier work Dear Elizabeth (The Umbrella), The Aliens (Theatre on Fire), Party Time (Theatre on Fire), Enchanted April (Hovey Players, DASH nominee, best costumes), Andrew Lippa's The Wild Party (Footlight Club, DASH nominee, best costumes), An Ideal Husband (The Footlight Club, DASH Award, Best Costumes), Father of the Bride (Divine Stage Works, DASH nominee, best costumes), And Then There Were None (The Footlight Club, DASH nominee, best costumes) and La Cage Aux Folles (The Umbrella).

By day, Maureen is Sr. Director, Prospect Research and Portfolio Management at Merrimack College, and lives on the North Shore with her husband and their three cats.

Maureen designed the costume plot for this production, as well as providing all costumes and costuming the actors themselves.

Eric Roberts (Stage Manager) Eric is very excited to be a part of the first production of the Boutcher Theater Company. He has spent most of his theater career on stage, most recently as "Utterson" in Footlight Club’s production of Jekyll and Hyde. Previous theater credits include Perfect Arrangement (Bob Martindale) at Quannapowitt Players, and Check Please 1&2 (Multiple Roles) at Quannapowitt Players.

Eric is glad to be apart of this process and hopes you enjoy the show.

Eric stage managed this production, and provided additional support for design elements and fight-choreography. Eric also handled all setup and teardown, as well as the ongoing management of props throughout the show.

Kari Boutcher (Executive Producer) is a theatre artist on the North Shore, and works in executive leadership of Beverly Mainstreets. She has experience as a choreographer, actor, and director, and shared all of her talent in the creation of RED. This show is dedicated to Kari, and all that she does for her friends, family, and community.

Kari assisted with marketing, outreach, additional direction during rehearsals, and operational support for Boutcher Theatre. Kari helped create several of the murals seen throughout the show, and assisted with a number of additional roles throughout the process.

Crew

Mike McTeague - Audio Technician

Mike provided all audio equipment, rehearsal and tech-week support, and ran audio for performances. Mike also provided sound mixing for performances.

Luke Nemitz - Sound Editing (lukenemitz.com)

Luke works as a composer and musician / multi-instrumentalist based in Washington, DC. Luke assisted in creating file-format version of the audio needed for this show, in addition to editing sound cues to meet design specifications.

Andrew Nicastro and Streamography Productions - Lighting Design and Technicians (streamography.com)

Andrew and his team at Streamography provided all lighting equipment, as well as designing cues and running lights for all performances. Streamography is a highly-skilled professional organization which provides audio, video, and lighting support for film, live streaming, and in-person performances and events.

Alan Bull - Painting Consultation and Talkback (alanbull.com)

Alan Bull is a painter, muralist, illustrator and art instructor based in Newburyport, Massachusetts. He received a BFA from the Philadelphia College of Art and has painted images of New England for the past 30 years. His works are widely collected and have been seen in feature films, in children’s books (Augustus and Me; Fisherman Fred), on album covers (including Ian Hunter’s new release Defiance Part 1 on Sun Records), and in print media including Architectural Digest, The New York Times and The Boston Globe. Alan has been a participant in Cape Ann Plein Air and Parrsboro International Plein Air Festival, and offers classes and workshops throughout New England. Alan provided advice on mannerisms and canvas preparation, as well as lending some scenic decoration, and helped run our post-show talk-backs.

Special Thanks

Red was built by many hands, and we could not have created this piece without the help of the following individuals and groups.

Kat Batten Wrenn and Chris Wrenn (sullysbrand.com and bridge9.com)

Kat and Chris own the performance space we used, and provided us with constant support throughout this process. Without them, this show would not exist. They are such incredible members of the Beverly community, and we're glad to have worked with them

Nathan Seavey and The Ryal Side Civic Association (ryalsidecivicassociation.org)

Nathan and the board of the RSCA rented their space to us for our rehearsals. You cannot perform in theatre without having a space to rehearse, and we could not have done this show without their generosity to share their space with us.

Patricia Gray and Noelle Keach (MUSTart Studios)

Pat and Noelle are highly talented artists and educators, who operate MUSTart studio in Ipswitch. They provided us with beautiful stretcher frames, along with consultation, support, and encouragement throughout the process. We're endlessly grateful for them and their generosity towards members of the art community.

John Andrews and Arielle Kaplan of Creative Collective (creativecollectivema.com)

John and Arielle provided business management, marketing support, and support in locating resources used during this production. They offer business management, networking, and other professional needs for creative groups and small businesses all over the North Shore.

Additional Thanks

Jack and Connie Eldridge, Jesse Bowman, The Danvers Art Association, John Archer, The students of the Gordon College Theatre Department

About "RED"

Mark Rothko

Born Marcus Rotkovitch in the town of Dvinsk, Latvia, then part of the Russian Empire, Mark Rothko immigrated to the United States with his family at the age of ten, settling in Portland, Oregon. A gifted student, Rothko attended Yale University on scholarship from 1921-23, but disillusioned by the social milieu and financial hardship, he dropped out and moved to New York to "bum around and starve a bit." A chance invitation from a friend brought him to a drawing class at the Art Students League where he discovered his love of art. He took two classes there but was otherwise self-taught. Rothko painted in a figurative style for nearly twenty years, his portraits and depictions of urban life baring the soul of those living through The Great Depression in New York. The painter Milton Avery offered Rothko both artistic and nutritional nourishment during these lean years. In the 1930s, Rothko exhibited with The Ten, a close-knit group of nine (!) American painters, which included fellow Avery acolyte, Adolph Gottlieb. Success was moderate at best but the group provided important incubation for the Abstract Expressionist school to come. The war years brought with it an influx of European surrealists, influencing most of the New York painters, among them Rothko, to take on a neo-surrealist style. Rothko experimented with mythic and symbolic painting for five years before moving to pure abstraction in the mid 1940s and ultimately to his signature style of two or three rectangles floating in fields of saturated color in 1949. Beginning in the early 1950s Rothko was heralded, along with Jackson Pollock, Willem deKooning, Franz Kline and others, as the standard bearers of the New American Painting--a truly American art that was not simply a derivative of European styles. By the late 1950s, Rothko was a celebrated (if not wealthy) artist, winning him three mural commissions that would dominate the latter part of his career. Only in the last of these, The Rothko Chapel in Houston was he able to realize his dream of a truly contemplative environment in which to interact deeply with his artwork. RED presents a fictionalized account of Rothko’s frustrated first attempt to create such a space in New York’s Four Season’s restaurant. Rothko sought to create art that was timeless; paintings that expressed basic human concerns and emotions that remain constant not merely across decades but across generations and epochs. He looked to communicate with his viewer at the most elemental level and through his artwork, have a conversation that was intense, personal and, above all, honest. A viewer’s tears in front of one of his paintings told him he had succeeded. While creating a deeply expressive body of work and garnering critical acclaim, Rothko battled depression and his brilliant career ended in suicide in 1970.

Licensing

"RED is presented by special arrangement with Broadway Licensing, LLC, servicing the Dramatists Play Service collection. (www.dramatists.com)".

RED premiered at the Donmar Warehouse Theatre, London on December 3, 2009,Michael Grandage, Artistic Director.Original Broadway Production Produced by Arielle Tepper Madover,Stephanie P. McClelland, Matthew Byam Shaw, Neal Street Productions,Fox Theatricals, Ruth Hendel/Barbara Whitman, Philip Hagemann/Murray Rosenthaland The Donmar Warehouse.Likenesses of the Rothko Seagram Mural Panels used with permission.© 1998 Kate Rothko Prizel and Christopher Rothko / Artists Rights Society (ARS), New York.

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