Repertory’s Art is sure to win audiences over.

French playwright Yasmina Reza analyzed culture and identity back in the mid-to-late 1990s. This analysis led to several Olivier nominations and a Tony for Best Play.

Set around a group of friends whose friendship is tested when Serge buys a tremendously expensive all-white modernist painting, Yasmina Reza’s Art is a brilliant piece of theatre that has proven its enduring quality with this production by Repertory Philippines. 

Repertory, guided with a mission to enrich lives through the power of theatre, continues to stage thought-provoking productions that inspire and connect diverse audiences. This production is no different. Art, a dark comedy that explores the fragility of friendship, is both timeless and timely in its examination of how ego and unspoken resentment can fracture even the strongest of bonds. In this play’s case, the bond has been strong for fifteen years.

Yasmina Reza’s Art is a character-driven, one-act play. Its structure revolves around its three characters’ conversations and arguments, with tension rising and falling over the course of 1 hour and 30 minutes. While much of Repertory’s Art is still ensemble dialogue, each character gets moments that offer glimpses into their inner thoughts. 

Battle of egos and ideals

British-Filipino actor Martin Sarreal makes his Repertory stage debut as Serge. The character, an affluent and self-assured man who prides himself on his taste, sets the play in motion. His purchase sparks heated debates about art, culture, and self-image. Sarreal delivers a poised and compelling performance, and a certain refined confidence that mirrors the character’s self-perception exudes from him. 

What makes Sarreal’s acting particularly effective is his treading of an extremely fine tightrope between arrogance and insecurity. The character of Serge could have easily been a caricature of elitist, pretentious folk, but he comes through as a human being seeking change and independence. This newfound independence contrasts that of Marc, who typically has the same views on art as Serge.

British actor Freddy Sawyer compels as Marc. The most vocal critic of Serge’s purchase, Marc is someone who values tradition and authenticity. To him, the all-white painting is representative of everything he finds hollow and performative in contemporary culture. Sawyer brings the emotional charge needed from Marc, and he succeeds in establishing Marc as a force to be reckoned with. A force that is blunt and unafraid to challenge. Sawyer infuses the character with deep feeling. When it comes to unraveling the deeper layers of the character, the outbursts come across as imperfectly human. Not that of an antagonist, but rather someone deeply frustrated and devastated. 

Filipino actor Brian Sy shines as Yvan. Caught in the conflict between the two, Yvan tries to keep the peace while dealing with his own crises. He is unlike Serge and Marc in various ways, who are both locked in a battle of egos and ideals. Yvan is a hard character to pull off, yet Sy gives a standout performance. His performance strikes a memorable chord with his ability to shift from humor to vulnerability. Despite the passivity on paper, Yvan is the emotional crux of the play, and Sy delivers on this.

Sophisticated design and precise direction

The play is set in a Paris apartment. Miguel Urbino, production designer, captures the sophistication expected from someone refined. The apartment, while minimalist, is deliberate and sleek with its neutral tones and carefully curated furniture. Its lack of clutter allows the actors and Reza’s dialogue to truly shine on the stage of the REP Eastwood Theater. The overall elegance and restrained design enhance the play’s modernist edge.

Its central all-white painting is also in prominent display for much of the play. 

Under director Victor Lirio, the play becomes more than just a silly debate about aesthetics. His direction is crisp and intentional, allowing the rhythm of Reza’s dialogue to just flow and thrive within the confines of the elegant apartment. Lirio leans into the humor, yet he does not lose sight of the emotional stakes present. The pacing is wonderful, no lull at all. It is an engrossing work of art. In Lirio’s hands, the play reinforces the delicate art of holding onto one another in the face of change. 

With nuanced performances and deft direction, Repertory’s Art reminds us that sometimes, what we see on the surface is just the beginning of a necessary conversation.

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