Yasmina Reza Provokes Questions on Modern Art, Modern Friends

by Emily S. Mendel

The long-time platonic friendship of three mid-life men is tested in the Tony Award-winning one-act “Art” (Best Play, 1998). The seemingly tight relationship blows up when the three white Parisians take sides when dermatologist Serge (Benoît Monin) purchases an expensive abstract painting.

Serge’s older friend, engineer Marc (David Sinaiko), absolutely hates the €200,000 solid white canvas, calling it a “piece of white shit.” Okay, to be fair to Serge, it does have a few subtle white lines superimposed over the white background—if you look in a certain light.

The younger, more accommodating, compliant Yvan (Woody Harper), a stationery salesman, tries to act as referee with little success. The trio’s arguments devolve into personal attacks, long-ago disagreements, and annoyances over minor matters, all amusingly told. For example, it turns out that Serge has long detested the way Marc’s girlfriend waves away his cigarette smoke.

But poor Yvan cannot take more quarreling since his pending wedding arrangements are causing havoc among his family, step-family, and in-laws. But Serge and Marc get caught up in their petty dispute. They are oblivious to poor Yvan’s pain and his attempts at mediation.

We wonder why these three are friends at all. What do they have in common? What connects them? It’s not school, sports, or work—common grounds for male companionship. Here is where playwright Yasmina Reza asks us to think beyond the comic exterior of “Art” to the meaning and importance of friendship. What support do we hope or expect from those closest to us?

But back to the white painting. Why can’t Marc be happy for Serge’s new-found appreciation of modern abstract art? Yes, Serge pretentiously spouts some “art-speak” in a way that suggests he is parroting the art dealer who sold him the “piece of white shit.”

But why is Marc taking this all so personally? He sees it as a personal betrayal by Serge rather than accepting that Serge, a divorced, non-custodial father, may need something to boost his male ego and assuage his fear of aging. I guess a Ferrari would have been hard to hang on his wall.

This trio hypnotizes us during the 115 minutes of Shotgun’s intelligent and clever production. Director Emilie Whelan is excellent at focusing our attention. And the set, with its falling-apart props, is a wonderful foil to the action, if a bit obvious.

In several scenes, playwright Reza helps us understand the characters by having them each speak their inner thoughts directly to the audience in echoing monologue.

The acting is uniformly first-rate. When Woody Harper’s Yvan reaches his wit’s end about yet another familial blow-up, he takes us into his character’s emotional depths. David Sinaiko’s Marc remains almost at the boiling point throughout, while Benoît Monin’s Serge holds onto tighter control.

I highly recommend the internationally acclaimed “Art” for its touches of brilliant comedy and its perceptive understanding of friendship and the human heart.

“Art” by Yasmina Reza, translated by Christopher Hampton, directed by Emilie Whelan, sound by Ray Archie, lighting by Gabriel Rodriguez, scenic design by Randy Wong-Westbrooke, costumes by Alice Ruiz, at Shotgun Players, Berkeley, California. Info: shotgunplayers.org – to April 12, 2025.

Cast: Woody Harper, Benoît Monin, and David Sinaiko.  

Banner photo: David Sinaiko, Woody Harper, and Benoît Monin. Photos: David Boyll

©Emily S. Mendel 2025   All Rights Reserved