{"id":369096,"date":"2025-06-06T12:14:18","date_gmt":"2025-06-06T16:14:18","guid":{"rendered":"https:\/\/dctheaterarts.org\/?p=369096"},"modified":"2025-06-06T12:14:18","modified_gmt":"2025-06-06T16:14:18","slug":"how-brent-askari-came-up-with-andy-warhol-in-iran-now-at-mosaic-theater","status":"publish","type":"post","link":"https:\/\/dctheaterarts.org\/2025\/06\/06\/how-brent-askari-came-up-with-andy-warhol-in-iran-now-at-mosaic-theater\/","title":{"rendered":"How Brent Askari came up with ‘Andy Warhol in Iran,’ now at Mosaic Theater"},"content":{"rendered":"

\u201cMaking money is art.\u201d <\/em>That\u2019s the credo of the money-making pop artist \u2014 known for his portraits of Marilyn Monroe and Campbell’s Soup cans \u2014 whose imagined plight at the hands of a timid revolutionary is the core of Andy Warhol in Iran, <\/em>the new comic drama making its DC debut at Mosaic Theater Company.<\/p>\n

The show, now extended through July 6, begins with Warhol \u2014 played by a radiantly comic Alex Mills \u2014 musing about his detachment.<\/p>\n

Speaking directly to the audience \u2014 his face obscured by the signature wig and large dark glasses \u2014 he describes himself as an observer. He identifies with his camera, an ancient Polaroid and a relic, even in 1976. (The role is reminiscent of I Am a Camera,<\/em>\u00a0the 1951 play by John Van Druten and Christopher Isherwood, in which the latter describes himself as a passive observer, but then is drawn, reluctantly, into the world he observes.)<\/p>\n

\"\"
Alex Mills as Andy Warhol in Mosaic Theater\u2019s production of \u2018Andy Warhol in Iran\u2019 by Brent Askari. Photo by Chris Banks.<\/figcaption><\/figure>\n

Warhol is in his room at the Tehran Hilton, waiting to hear from the Shah\u2019s wife about a commission to paint her portrait. But, in the words of Brent Askari, the playwright pulling the strings, Warhol admits that he is really waiting \u201cfor something that could<\/em> have happened \u2026 or would <\/em>happen \u2026 or will <\/em>happen.\u201d<\/p>\n

I was curious about the evolution of the play, and tracked Askari down for a video interview at his home in South Portland, Maine.<\/p>\n

\"\"
Brent Askari. Photo \u00a9 Judy Beedle Photography, via Mosaic Theater Company.<\/a><\/figcaption><\/figure>\n

\u201cOriginally, the play I had in mind was about Warhol going to Iran,\u201d he said, adding that the artist really did go there, in 1976, in order to do a portrait, using Polaroid and paint, of the Shah\u2019s wife.<\/p>\n

\u201cBut there was no conflict, and without conflict, there\u2019s no drama,\u201d he concluded. However, he was hooked on the idea of a play about Warhol\u2019s trip. \u201cOnce I realized that I didn\u2019t have to stick to the historical facts, I knew there was a lot to write about.\u201d<\/p>\n

While reluctant to give away any of the details of the plot \u2014 audiences will have to see the play in order to find out exactly what happens \u2014 he did provide me with this summary.<\/p>\n

\u201cWarhol goes to take Polaroids of the Empress,\u201d Askari said, \u201cand he’s stuck in his hotel room, waiting to get summoned. So he’s hanging out in the hotel for a few days and doing some touristy things and ordering caviar, which is only $12 for a large serving.<\/p>\n

\u201cAnd then, one day, he has this encounter with a young revolutionary who comes to his hotel room and challenges his notions of art and politics. This young man has a very critical view of the Shah\u201d \u2014 \u00a0restored to power through the intervention of the West \u2014 \u201cbecause of the regime’s secret police and widespread use of torture.<\/p>\n

\u201cSo Andy and the passionate young Iranian end up in the hotel room together and have a lot of debates about politics and art and the roles of each in the other, and they both end up changing each other’s views \u2014 a little, and only for a moment. We see that there are similarities between the two men as well as differences. In a sense, they’re both \u2018revolutionaries\u2019 of a sort.\u201d<\/p>\n

\"\"
Nathan Mohebbi as Farhad and Alex Mills as Andy Warhol in Mosaic Theater\u2019s production of \u2018Andy Warhol in Iran\u2019 by Brent Askari. Photos by Chris Banks.<\/figcaption><\/figure>\n

One of the most astonishing things about the play, which I saw at its opening, is that the would-be terrorist \u2014 played by Nathan Mohebbi, with a wonderful blend of idealism and anxiety \u2014 manages, in between the threats and the jokes, to deliver a history lesson, at whirlwind speed, that touches on every act of perfidy for over two centuries.<\/p>\n

\u201cThe would-be kidnapper doesn\u2019t want to erase<\/em> history,\u201d Askari said. Instead, he forces Warhol \u2014 and by extension the audience \u2014 to relearn it.<\/p>\n

Much of the speed of the play \u2014 both in the history lessons and in the sparring between the two men \u2014 is the work of Mosaic\u2019s managing director, Serge Seiden, who is back on the creative side after serving on the business end of the theater.<\/p>\n

Although Askari and Seiden had never met, they have a lot in common. Seiden grew up in Maine, then settled in Washington, DC. Askari, just the opposite, grew up in the DC area and now lives in Maine. Both began their careers as actors.<\/p>\n

And both are graduates of Swarthmore College. (As a result of this shared background, Mosaic is offering a special Swarthmore Alumni performance on June 29 at 3 pm.)<\/p>\n

Other coincidences abound: Andy Warhol in Iran <\/em>was originally commissioned by the Barrington Stage Company in the Berkshires, where Mosaic\u2019s artistic director, Reginald L. Douglas, directed the workshop. Prior to that, Askari worked with Douglas on a play called White Party.<\/em><\/p>\n

\u201cSo we connected twice,\u201d Askari said. \u201cAnd when he asked me to think about Mosaic for the play\u2019s DC premiere, of course I said \u2018yes!<\/em>\u2019\u201d<\/p>\n

Like many playwrights I\u2019ve interviewed, Askari has worked both on and off the stage. He began his career as an actor, and though he continues to move back and forth \u2014 he currently performs with the Mad Horse Theater Company in Maine \u2014 he is today focused primarily on writing. More than a dozen of his plays have been produced. His latest play, Advice<\/em>, opens next week in Sacramento.<\/p>\n

\u201cAs a playwright, I find it very helpful to have been an actor, since you understand the craft of acting,\u201d he explained. \u201cYou know what an actor needs and doesn\u2019t need in order to bring a character to life.\u201d<\/p>\n

Of course, Iran is very much in the news today, so this play \u2014 with its artful look at some of the forces leading up to the revolution in 1979 \u2014 is very relevant. It\u2019s a painful reminder of what went wrong, both before the revolution and after it. Far from saving the country, the number of deaths from torture, tyranny, and execution far exceeds that of the past.<\/p>\n

For Askari, the play is a way of talking about issues like justice, art, and politics, but it\u2019s also about cultural differences.<\/p>\n

\u201cThe differences are especially important,\u201d he said, pointing out that he is a product of a biracial marriage. His father is from Iran, and his mother is a New England WASP. \u201cThose are two very different cultures. I\u2019m interested in the interaction between the two, and the relationship between East and West.\u201d<\/p>\n

As for the comic bits: \u201cYes, a play always needs humor. And Warhol was such a character. He was a trickster in fact.\u201d In a play, he reminded our readers, having something to say and<\/em> offering entertainment are not mutually exclusive.<\/p>\n

My favorite line in the play, spoken by Warhol, but probably echoed by many of those who read DCTA, is this: \u201cIt\u2019s hard for people who studied literature to find work.\u201d<\/em><\/p>\n

\"\"<\/p>\n

Andy Warhol in Iran<\/em><\/a><\/strong> plays through July 6, 2025, presented by Mosaic Theater Company <\/a>performing in the Sprenger Theatre at Atlas Performing Arts Center, 1333 H Street NE, Washington, DC. Tickets are $42-$78 and available by contacting the box office at (202) 399-7993 or boxoffice@atlasarts.org<\/a> from 12 pm\u20136 pm\u00a0Tuesday through Sunday, or one hour prior to a performance. Tickets may also be purchased online <\/strong><\/a>or through TodayTix.<\/strong><\/a><\/p>\n

Running Time: Approximately 90 minutes, with no intermission.<\/p>\n

The digital program is downloadable here.<\/a><\/p>\n

Senior discount of 10% when using the discount code SENIOR. Student tickets $20 with discount code STUDENT. Educator: $20 with discount code EDUCATOR. Limited number of rush tickets are available via walk-up one hour before the start of each performance. Military and First Responder rate: 10% with discount code HERO. Under 30: $25 with code UNDER30 (not available on weekend matinees).<\/p>\n

Andy Warhol in Iran<\/strong><\/em>
\nBy Brent Askari
\nDirected by Serge Seiden
\nAndrew Cohen (Scenic Designer), Alberta Segarra (Lighting Designer), Jeannette Christensen (Costume Designer), Larry Peterson (Wig and Make-Up Designer), David Lamont Wilson (Sound Designer), Deb Thomas (Properties Designer), and Mona Kasra (Projections Designer)<\/p>\n

SEE ALSO:<\/strong>
\nA far-out artist meets a real rebel in \u2018Andy Warhol in Iran\u2019 at Mosaic <\/a><\/strong>(review by Charles Green, June 2, 2025)
\nMosaic Theater Company to present DC premiere of \u2018Andy Warhol in Iran\u2019 <\/a><\/strong>(news story, April 22, 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

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