The Mosaic Theater Company invites you on an unforgettable journey with their latest show, "Andy Warhol in Iran," playing at Washington, D.C.'s Atlas Performing Arts Center until July 6th. This riveting production explores where art meets politics, pushing against traditional norms in both areas.
Unraveling Andy Warhol's enigmatic persona
Andy Warhol, known as much more than a cool, aloof artist, had a deep curiosity about fame, wealth, and commerce. He was constantly exploring how others lived lavishly, keeping tabs on what his peers earned, and finding new ways his art could pay off.
In this imaginative play by Brent Askari, Warhol—brilliantly portrayed by Alex Mills—steps out from his usual fame-focused path when he encounters a young revolutionary in Iran. Though he revolutionized art, Warhol typically pursued notoriety over activism, until now.
A fictional yet revealing journey
This 90-minute gem isn't a play-by-play history lesson, but it pulls threads from Warhol's real 1976 trip when he was hired in Tehran. During this visit, he was tasked with painting portraits, particularly focusing on Farah Diba, Iran's last empress.
The action unfolds in a luxurious hotel suite in Tehran, with breathtaking views over Alborz's snowy peaks, right in Iran's buzzing capital. Here, we meet Farhad, a revolutionary student cunningly disguised as room service, played by Nathan Mohebbi. His mission? To kidnap Warhol and shine a light on their cause.
A surprising encounter
When Warhol meets Farhad, who carries a weapon, it's a mix between curiosity and confusion. Warhol wonders why Farhad picked him and questions why he wouldn't just demand a ransom or ask him about appearing in one his artsy films.
Warhol, when called "the most decadent artist," sees it as a compliment. For him, decadence was something wonderful, a theme he'd embraced throughout his career—just look at his famous "Campbell's Soup Cans" from 1962.
This love affair with decadence traces back his childhood in Pittsburgh, where he would get lost in "Photoplay Magazine" during sick days, dreaming about Hollywood glamour.
Friends in art and ambition
Joining Warhol in Iran, though only behind-the-scenes, are Fred Hughes, his manager, and Bob Colacello, editor at Interview magazine. Their vibrant trio often embarked on such trips, expanding Warhol's high-profile connections and financial success.
In Iran, what caught Warhol's attention were Farah's dazzling jewels, savoring exquisite caviar, and snapping Polaroids. His plan? Head back New York, transform these images silkscreens, and offer them at a premium price, blissfully unaware any impending issues.
Top-notch performances and direction
Under Serge Seiden's skilled direction, this two-person play truly shines. Seiden artfully mixes humor with depth, navigating absurdity without overshadowing its core messages.
Alex Mills captures Warhol's essence perfectly, complete with his iconic white wig. Mills doesn't just mimic; he breathes life and energy Warhol's character, playing beautifully off Nathan Mohebbi's fiery Farhad.
Though romance isn't a focal point, there's an undeniable, subtle chemistry between Warhol and his captor.
A captivating look at art and politics
The dance between art and politics always captivates, and "Andy Warhol in Iran" offers a delightful, humorous peek at this interaction. While it doesn't plunge deeply history or Warhol's life, it delivers a fascinating, entertaining snapshot where these worlds converge.
It truly a must-see if you're intrigued by dialogue between creative expression and political ideas.
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