On any given night in Laredo, collaboration is the fuel that continuously ignites the spark within the creative community. Yet, for first-time producer Katelyn Kahn, the process of bringing John Logan’s Red to life demanded a new level of creative synergy, pushing her to re-evaluate her relationship with risk.
As an “actor, producer, stage manager, director, and theater maker,” Kahn’s roots in performing arts run deep, stretching back through high school one-act play, local community theater, and formal training at New York University Tisch School of the Arts, where she received her BFA in Theater.
Her current production, Red, offers a fictionalized look at painter Mark Rothko and his newly hired assistant, Ken, as they work to complete the Seagram Murals. What unfolds is a clash between the fading dominance of abstract expressionism and the rising popularity of pop art. “Who has the right idea about art?” Kahn asks. “You’ll have to see.”
At its foundation, the production “explores the vulnerability of releasing your art to the real world and how terrifying that can initially be.” Lacking the safety net of recognizable talent and a built-in audience has made the fear of producing this show all the more tangible, but it’s a risk that Kahn was prepared to face head on, embracing the challenge of managing permits, budgeting, and compliance logistics alongside her collaborators: “You have to jump through that first hurdle or you’ll always be left wondering.”
The draw, for Kahn, was found in the play’s thematic resonance, reflecting first-hand conversations about art that she, herself, has engaged in. “It’s very relatable, especially when you’re having conversations with older and younger artists,” she explained. “Everyone’s perspective is different, and each has their advantages and disadvantages.”
Yet, aside from the discourse the production is sure to prompt, Kahn hopes more than anything, that Red works to expand the perceptions of what is possible in local theater. Drawing from immersive and unconventional performances she attended in New York, the show incorporates an interactive element that challenges traditional audience expectations. “I want people to see a new side that Laredo theater has to offer,” she said. “There’s no binary definition of what theater is. It can morph into anything you want it to be with no limits.”
Ultimately, Kahn’s heart as Red’s producer lies in the core belief that the people of Laredo “deserve to have their minds expanded.” The production serves as a reminder of why theater exists in the first place. “Theater here shouldn’t be limited to money,” she said. “It can be or look like whatever you want.”
