Alfred Molina paints the town 'Red'
The onetime Tevye is heading back to Broadway, as tempestuous artist Mark Rothko.
"It was telling a very real, very powerful story about an intelligent, troubled and conflicted man," Molina says of "Rothko." (Jennifer S. Altman / For The Times)
But Grandage had a different agenda. Toward the end of their chat, the director slid a FedEx envelope across the table.
"Is this what I think it is?" asked Molina. "It looks suspiciously like a play."
Grandage told him about the play and the part, left him the script and Molina went off to a restaurant and started reading.
"By Page 21, I knew I had to do it," Molina recalls. "I often tell people that when you read a play, the moment when you know you have to do it is not a punching-the-air moment. It's actually a sinking feeling because all your options disappear. Everything narrows down to this one thing you know you have to do."
The role was Abstract Expressionist Mark Rothko, the central figure in John Logan's new drama, "Red." The 90-minute play is set in Rothko's New York studio in 1958 as the painter works on a series of murals commissioned for the Four Seasons restaurant in the city's iconic Seagram Building.
Taking on a commission he didn't need and a new assistant he did, Rothko rails against an art world that is changing -- and a young man who embraces the change.
"It was telling a very real, very powerful story about an intelligent, troubled and conflicted man," says Molina. "You think, 'Wow, Rothko is demanding, difficult and a bully,' but at the same time you can't stop listening to him."
"Red" debuted in December at the Donmar, directed by Grandage and costarring Eddie Redmayne as assistant Ken. His head shaved, his demeanor fierce, Molina inhabits Logan's isolated, isolating protagonist, raging at Redmayne's Ken but also at himself. The play and its actors fared well with London critics and audiences and, following the path of earlier transfers of the Grandage-directed "Frost/Nixon" and "Hamlet" with Jude Law, opens on Broadway April 1.
"The spirit is larger because we're now in an 800-seat theater [the Donmar has 250 seats], and I hasten to add that Alfred Molina is even better on Broadway, because he's been unleashed," says Logan, screenwriter of "Sweeney Todd," "The Aviator" and "Gladiator." "He has a greater animal freedom, and he is now absolutely ferocious."
Onstage as Rothko, that is. Molina has a short break at home in Los Angeles between his London performance and Broadway, and over coffee in a Hollywood diner he is much closer to his affable Englishman in the film "An Education."
Though he is imposing at 6 feet, 2 inches, beneath his bushy eyebrows the deep brown eyes are friendly, the body language relaxed, the manner charming.
Few actors appear so different so often. Onscreen, for instance, he's appeared as a Spanish bishop in "The Da Vinci Code," a British soldier in "The Little Traitor," a Mexican muralist in "Frida," a French mayor in "Chocolat," a drug lord in "Boogie Nights" and an Iranian doctor in "Not Without My Daughter."
His stage work is also eclectic: He was nominated for a 2004 Tony Award for playing the Russian Jewish milkman, Tevye, in "Fiddler on the Roof" and again in 1998 for his performance as a worried stationer in Yasmina Reza's "Art."
"Red" follows his well-received performance in "An Education," in which he played the ambitious British father of a bright teenage girl ( Carey Mulligan) whose judgment is clouded by her smooth-talking older suitor.
"You always feel there's something more that he doesn't reveal," says Lone Scherfig, director of "An Education." "He's like a Ferrari: You can press the gas pedal more and it can go much faster, but there's no need."
Writer Lynn Barber, whose memoir inspired "An Education," has written that she found Molina "positively heart-rending" as her father, and Scherfig confides "he understood the character better than I did. It was under his skin. He knew that London in the late '50s."