Sometimes, even a blank canvas can reveal much — about art, and about humans in general. This fall’s Broadway revival of a decades-old French play explores the intersection of both, in an unintentional commentary on the digital age.
The production of Art features a star-studded cast, and a simple premise that expands into a multi-layered plot. While satirizing the pretensions of modern aesthetes, it also explores the emotions that drive long-running friendships — bringing people together, and tearing them apart.
The simple premise revolves around the title work: ostensibly, a work of “art.” As the play opens, Serge, played by Neil Patrick Harris, has spent a small fortune purchasing the canvas from a notable painter. Serge proudly displays this work: a white canvas, purportedly with fine white stripes.
But what Serge sees as a masterpiece, his friend Marc (Bobby Cannavale) derides as “sh-t.” Marc cannot understand the work’s premise, and questions why someone of as relatively modest means as Serge would have spent a sizable sum on the canvas.
Serge and Marc represent opposite poles of a philosophical debate about the nature of art in general, and modern art in particular. Serge comes across as pretentious for attempting to read all manner of meanings into a plain white canvas. But Marc’s dismissiveness drifts into cynicism toward his friend.
Trying to navigate between the opposites is Yvan (James Corden), the final member of the three-man cast. Easygoing and congenial, Yvan attempts to soothe rough waters by agreeing with the points Marc and Serge make when in each man’s presence. But his efforts at conciliation also prompt attacks from both Marc and Serge, who each accuse Yvan of lacking a backbone.
In a series of monologues, dialogues, and three-person conversations, Yvan, Marc, and Serge navigate their feelings about the artwork and each other. While the three characters explore the psychology behind their friendship, Art still retains its comedic nature.
The “art” in question looms large over the play, often providing comic relief. The audience can see the work in question, prominently displayed in many scenes, is little more than a solid white canvas. Even in midtown Manhattan, Broadway audiences can still chuckle at the airs to which the modern art community aspires.
Corden’s comic stylings as Yvan also prevent the mood from ever becoming too dark. Without venturing into full-on slapstick mode, Yvan provides necessary levity, keeping Art away from the deeper psychological tones and traumas of works like Who’s Afraid of Virginia Woolf?
But for all its psychological depth and biting satire, the premise behind Art seems somewhat dated. Yasmina Reza’s work first premiered more than three decades ago, in the fall of 1994. At that point, the internet was in its infancy, and social media did not exist. Now, 30 years later, Art’s opening scene, where Serge announces to Marc that he has purchased the pricey canvas, seems more likely to take place via an Instagram post than through a direct conversation. In the 21st century, where digital personas make it easier for young people to avoid real friendships completely, the characters might never even have the confrontations that play out in the script.
In that sense, Art no longer imitates life — a sad commentary on the alienation of our digital age that far exceeds any of Yasmina Reza’s critiques of the modern art community.
Art is now playing at the Music Box Theatre (239 West 45th Street in Manhattan) through December 21. Run time is approximately 90 minutes, without an intermission.
