City Theatre’s ‘Andy Warhol in Iran’ is a compelling culture clash
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In the final production of its 2023-24 season, City Theatre Company has brought a compelling, thought-provoking and — at times — humorous play to life with “Andy Warhol in Iran.”
Marking a Pittsburgh premiere, Brent Askari’s play is masterfully directed by Marc Masterson.
The setting is 1976, when iconic pop artist and Pittsburgh native Andy Warhol traveled to Iran to take Polaroid pictures of the Shah’s wife. The play’s fictional imagining is tucked into a moment of that visit and unfurls in a single setting: Warhol’s hotel room in Tehran. The plot revolves around a visit from a young revolutionary named Farhad (Arian Rad), who attempts to kidnap Warhol (Jeffrey Emerson) to bring attention to his cause — resulting in a tense, engaging and insightful story.
“Andy Warhol in Iran” is a fairly sparse play, with only two actors and one real set. The runtime was a tight 80 minutes with no intermission, but the dialogue and action moved so well that every second of that time was used to maximum effect, with the entire stage space utilized.
As Warhol, Emerson was captivating. His vocal and physical mannerisms were specific and fluid, creating a natural appearance. The show begins with him breaking the fourth wall and delivering a a monologue to the audience that is both awkward and captivating. Throughout the play, Emerson does an admirable job with comedic and dramatic moments, bringing a refreshing humanity to a figure as shrouded in eccentricity and performance as Warhol was.
As Farhad, a young man who has joined a group of revolutionaries fighting against the Shah’s rule, Rad was raw and incandescent with anger and passion. Whether he was reciting poetry or describing the horrible crimes of the regime’s secret police, he delivered every line like it was the most important message ever spoken.
Together, the two made an unlikely pair who easily carried the play’s dramatic weight. With the help of fight choreographer Samuel GC Muñoz, they even have a couple of explosive altercations. They were more than capable of filling the stage’s whole space with their charisma and chemistry.
Be warned, “Andy Warhol in Iran” is not a play without its politics. Much of it examines the contrast between Warhol, who arrives in Iran for the sake of making money without knowing the country’s history or current state, and Farhad, who has had to live — and fight — in a constant state of fear and oppression. At one point, Farhad expresses that “politics is people,” meaning that the political choices everyone makes have wide-ranging effects on the lives of other human beings around them.
Though the two characters didn’t completely reconcile their viewpoints, by the end of the play, there was strong evidence that they “see” each other more clearly — and hope that the audience did too.
It should be noted that there are some disturbing descriptions and visuals related to violence in the play, so it may not be suitable for young ears.
The play was also a valuable history lesson, both on the life of Andy Warhol and the country of Iran.
Technically, the production was truly exceptional. Scenic designer Michael B. Raiford, costume designer Susan Tsu, lighting designer Paul Whitaker and sound designer Zachary Beattie-Brown made every moment of the play visually and audibly engaging.
The characters and message of Askari’s play will certainly stay in the mind of the audience for some time. It may even cause some perspective shift — and bring the portrait of humanity into sharper focus.
“Andy Warhol in Iran” will run through May 12 at City Theatre on Pittsburgh’s South Side. For more information and tickets, visit citytheatrecompany.org.