BWW Reviews: THE CREDEAUX CANVAS Is A Shrewd Look At the Lives of Three Graduates Trying To Survive and Follow Their Dreams in NYC.

Saturday 31st January 2015, Reginald Theatre, Seymour Centre, Sydney.

Keith Bunin's THE CREDEAUX CANVAS is an astute analysis of how the combination of desire, passion, ambition, greed, and obsession effects the lives of three young adults trying to 'make it' in the big city. The thirst to succeed leads to questionable moral choices on a number of levels and deceptions and lies are spun to deceive the arrogant and ignorant, the innocent and trusting, and the scared and shy.

The story takes place in New York City, in an East Village top floor walk-up with its only redeeming feature being the natural light streaming in through a large window. Emma Vine's (Designer) set captures the poverty that Art student Winston (James Wright) lives in with his roommate, failed Art student come Real Estate Agent Jamie (Felix Johnson). Calico drop sheets line form the walls, a bathtub that doubles as the kitchen sink is hidden behind a collection of shower curtain scraps, a fridge that no longer runs is used as storage and shelving and houses a stack of instant noodles, and a wooden bench seat and throw rug forms the sofa . Ross McGregor (Director) further cements this scene of struggling students with Winston emerging from the pile of blankets which forms his bed on the floor, eating cereal, dry out of the box, and the ongoing need to get clean glasses from the bath.

Winston is the socially inept artist whose passion and focus in life is art. Jamie is the trust fund child with a range of mental issues that appear to be stemming from his late father, a major art dealer, having taken a new wife and disinheriting him and cutting him out of his will completely. Amelia (Emilie Cocquerel) is Jamie's girlfriend whose desire is to be a singer, but is currently struggling at being a waitress. The three are in the early to mid 20's, well-educated and highly intelligent as evidenced by the complex lexicon that they use but all three are struggling to realise their dreams and becoming disenchanted.

Jamie dreams up a scheme to make them money that relies on all three to draw on their 'talents' to convince one of his father's former clients, Tess (Carmen Duncan), to buy a 'rare' painting. Winston is challenged to utilise his knowledge of his favourite artist, the relatively unknown Jean Paul Credeaux and his experience copying the work of famous painters, a skill honed through his assignments for his Masters Degree to create the painting. Amelia is pressed upon to be Winston's life model, a task she isn't comfortable with whilst Jamie continues to pressure her to start a family and settle down and marry him. Jamie's scheme then leads on to other deceptions as they deceive each other and even themselves.

Jamie needs to help his friends come to terms with the deceit and deception. Winston must trust that he is as good as Jamie believes him to be. Amelia needs to determine if she believes that Jamie loves her or if she thinks he's in love with the image of her and that he's really just using her to achieve his own objectives. Jamie's questionable moral compass seems to be unfazed, willing to take the fall if the ruse is found out. The outcomes that stem from these conclusions provide further challenges for the trio.

James Wright presents the appropriate level of awkwardness in portraying Winston as the reclusive artist that is more interested in paintings and painters than real people, in particular girls. Wright handles the detailed ramblings of the art terms with impressive ease and enthusiasm to further cement Winston's obsession. Emilie Cocquerel portrays Amelia, the jaded singer come waitress with the air of self-doubt and scepticism of her relationship with Jamie. Felix Johnson's presents Jaimie with the confidence of someone that had grown up getting everything he could want laced with the cynicism born out of being abandoned by his father. All three handle the American accents well, convincing as New York students and former students with the expressive language flowing easily. Wright and Cocquerel's interaction during the first sketching session is tastefully handled whilst allowing for serious dialogue to take place balanced with moments of physical humour.

Carmen Duncan's portrayal of wealthy art collector Tess has the gravitas and arrogance of a woman that is confident that she understands art, despite Jamie's suspicions that she doesn't really know anything past the signatures. She has the requisite enthusiasm of an eccentric status driven socialite that believes that ownership of important works makes her important. Whilst the wealthy in New York may have more English tones to their accent, Duncan does present a melding of American, English and Australian in her dialogue which does prove a little distracting from the energy and eagerness to discover a rare artwork.

THE CREDEAUX CANVAS deals with a multitude of issues including love, infidelity, revenge, distrust, deceit, entitlement, entrapment, obsession, passion, lust, greed, desire, doubt, disappointment, death, and compromise. It explores what people will do to succeed, the decisions they make, and how they can impact both their own lives and the lives of others.

THE CREDEAUX CANVAS isn't a 'nice' story but it is an important study on human nature and humanity. This production is also a great opportunity to get to see some young talent at the start of their careers.

THE CREDEAUX CANVAS

Reginald Theatre

Seymour Centre

29th January - 14th February 2015

Photos: Supplied

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