“Art”- The Emperor’s New Clothes?

By Alix Cohen

“We’re not selling objects—we’re selling ideas, emotions, and the aura of cultural relevance.” Larry Gagosian (Gagosian Gallery)

Serge (Neil Patrick Harris), a successful dermatologist “into art”, proudly shows best friend Marc (Bobby Cannavale), his most recent, extravagant purchase: $300,000 when the play was written- $619,457 in 2025. The 5 x 5.4” painting by celebrated artist Antrios appears to be a blank, white canvas, though we’re told there are a few raised white lines.

Both men gaze close and far. Marc puts on his glasses, raises his eyebrows, considers, and finally calls the work “shit.” He’s outraged Serge has been “ripped off” and worries his friend may be joining the rarefied, vapid world of collectors. Serge is only moderately offended as his friend has no background or even real interest in contemporary art. Still, if Marc had said “I don’t get it” rather than announcing the painting’s worthlessness, the opinion would’ve landed without incident. It was tactlessness that rankled.

Marc can’t wait to share with their third musketeer, the less well heeled Yvan (James Corden), acknowledged jester among them. Currently a stationery salesman for his imminent father-in-law, he habitually takes the path of least resistance. Marc goads him into agreeing he wouldn’t pay “jack shit” for the described artwork- which, of course, he must see for himself.

Yvan visits Serge. Without actually expressing an opinion, he ameliorates the situation. “I didn’t like it, but I actually didn’t hate it,” he later tells Marc. Then the three meet for dinner. What was said in private exacerbates the situation in public. The men duck and spar swiping at vulnerabilities.

At some point in the exhausting scene, Yvan declares he’s hungry. A time-out features silent sharing of a dish of olives. Each man from a chair to pluck one, then rises to deposit the pit- clink- in a dish. You’d have to be there to see how funny this is.

A comedy of manners, you might say, there’s no there there, but as clever entertainment, the play soars.

All three actors are terrific. Difference in style enhances character. Bobby Cannavale’s (Marc) appalled, sarcastic response and increasingly revealed egotism is exhibited in tone and facial expression. A lengthy, apoplectic monologue by James Corden (Yvan) rightfully brings down the house. The most physical of the three, his every move is sympathetically comic.

Neil Patrick Harris (Serge) credibly represents the straight man in the joke. His status-conscious, buttoned up character is one around which the others orbit. One might wish for more reaction to the play’s and his character’s turning point.

“Art is a mirror of power. It reflects who we are and who we want to be.” Amy Cappellazzo (Art advisor, former Sotheby’s executive):

Yasmina Reza’s 1994 play spelunks into male friendship, men’s difficulty in opening up to one another, turning over earth like a truffle pig. Her view of the art market notes that it’s not driven by aesthetics, but rather strategic investment, a buyer’s sense of identity, and cultural storytelling. It’s as relevant if not more so today than when first produced.

Director Scott Ellis manifests a master class in impeccable timing. Facial expression, physical reaction, and frozen, lack of neither superbly reflect the smart and very funny script.

David Rockwell’s set is grey and innocuous. That it changes not a whit between apartments except for a single painting, misses the opportunity to further show protagonists’ characters.

Photos by Matthew Murphy
Opening: James Corden (Yvan), Neil Patrick Harris (Serge), and Bobby Cannavale (Marc)

Art by Yasmina Reza
Translated by Christopher Hampton
Directed by Scott Ellis
The Music Box Theater 239 West 45th Street
https://artonbroadway.com/