By David A. Sargent

Special to the Sun Journal

LEWISTON — “What do you see?”

That’s what artist Mark Rothko asks his assistant — and the audience — at The Public Theatre’s powerful Maine premiere production of “Red.”

He won’t settle for a simple answer. And, by the end of this fascinating look at the tug of war between artistic integrity and commercialism, it is Rothko himself who discovers vulnerability in his ironclad views of his work.

Joel Leffert gives a powerhouse portrayal of the acclaimed abstract Expressionist who accepts the biggest commission in the history of modern art to paint a series of murals to hang in New York’s posh Four Seasons restaurant.

He seethes with distain for paintings produced by his art world contemporaries of the 1950s. He decries the drip and splash techniques of Jackson Pollock or Willem De Kooning and what he calls the comic book look of Andy Warhol or Roy Lichtenstein. He rants about the insensibility he sees in wealthy collectors who buy their work, as well as his own, for “over-mantle” decoration.

Leffert roars through the role when the future of his paintings and his reputation are at stake, and he sits in quiet contemplation when he examines the emotional impact of his paintings and his own thoughts. The quick-change contrasts of emotion capture the audience’s attention throughout the play.

Anthony Johnston’s portrayal of Ken, the young studio assistant who finds the courage to challenge Rothko’s beliefs, is excellent. Johnston takes the character from an initial sense of awe to a point of understanding his own ability to argue with, and even influence, the great painter. He gradually accepts his own competence to judge the master’s work and intentions.

“Red” is a true story. It’s based on Rothko’s well-known conflicted feelings about undertaking this controversial commission, but the exchanges between artist and assistant are a fictionalization of the arguments related to modern art.

As Rothko’s determination to solidify his legend with a series of huge murals in a fancy restaurant is called into question by the young assistant, the audience gains an exceptional level of understanding about the workings of artists’ minds.

This play is long on words and strong on thought-provoking ideas. Director Christopher Schario is totally successful in making this a dynamic and fast-paced production.

It’s not all talk, either. Rothko stalks about his studio as he continually lectures his assistant and argues his case for passion in each painting.

Rothko and Ken are seen at work on the large paintings as the creative process unfolds in the brick-walled studio. Because Rothko insisted on excluding natural light from his work space, the stage lighting is critical to this production — and Bart Garvey has done an exceptional job of integrating the lighting as necessary for the plot’s development.

The large Rothko paintings of red with diffuse bars of black and brown in various positions have been recreated by artist Gordon Carlisle. Several of them hang around the studio walls of the effective set designed by Jennifer Madigan. Costuming includes paint-spattered clothing designed by Kathleen Brown, which gets some additional splattering as Leffert and Johnston engage in some energetic on-stage painting.

“Red” was the Tony Award winner for Broadway’s Best Play of 2010. John Logan, author of this two-actor play, has written numerous screenplays. He was an Academy Award nominee this year for “Hugo” and for “The Aviator” in 2004 and “Gladiator” in 2000. He also wrote the screenplay for “Skyfall,” the new James Bond film scheduled for release in October.

Remaining shows

WHAT: “Red”

WHEN: 7:30 p.m. Thursday and Friday, March 22-23; 2 and 8 p.m. Saturday, March 24; and 2 p.m. Sunday, March 25

WHERE: The Public Theatre at Lisbon and Maple streets, Lewiston

TICKETS: $18 for adults, $5 for anyone 18 and younger. Call 782-3200 or visit www.thepublictheatre.org.