"Mozart Was a Red" is, to my knowledge, Murray N. Rothbard's one and only play. It is a form unusual for him, but one well suited to its subject: the cult that grew up around the novelist Ayn Rand and flourished in the 60s and early 70s. For the principal figures of Rand's short-lived "Objectivist" movement were indeed like characters out of some theatrical farce.
With her flowing cape, intense eyes, and long cigarette holder, Rand was the very picture of eccentricity; she sometimes wore a tricornered hat, and at one point carried a gold-knobbed cane. Her thick Russian accent added to the exoticism. It is a measure of Rand's powerful personality – and the real key to understanding the Rand cult – that, after a while, many of her leading followers began to speak with a noticeable accent, although each and every one of them had been born in North America.
Murray's real talent as a satirist comes through in his deft characterizations: in Carson Sand, the imperious author of The Brow of Zeus, Murray has Rand down to a tee. With one well-placed brushstroke – "Jonathan's nose was permanently tilted at a 45 degree angle from horizontal" – Murray paints a vivid picture of cult leader Nathaniel Branden. His subtle portrayal of Rand's husband, the quiet, amiable, and rather intelligent Frank O'Connor, in the character of George, is imaginative and structurally clever: at key points in the drama, it is George, always speaking quietly amid the grandiose histrionics of the others, who asks key questions of Keith Hackley, the bewildered neophyte, and moves the action along.INCLUINDO - Texto da peça no artigo
Here, then, is "Mozart Was a Red," which represents the lighter side of Murray Rothbard, the side that those of us who knew him will always treasure and remember.