The Credeaux Canvas - Review

The Credeaux Canvas
Presented by Sure Foot Productions at The Tap Gallery
Reviewed by Catherine Hollyman 

I’ve always been somewhat suspicious of nudity in a play. All too often it has been nudity for nudity’s sake, rather than adding to the performance. So when I read the ‘contains nudity’ warning on The Credaux Canvas flyer, I was instantly dubious.

Parking limitations on the streets surrounding the TAP Gallery meant we were regrettably five minutes late to the opening night. Sneaking in to a theatre after the play has begun is always a big no-no, but never more so than at the TAP – an intimate theatre at the best of times, but magnified tonight by the full house. Settling in to the reserved seats, I hadn’t even removed my jacket before my initial concerns were alleviated. Crammed into Jamie’s apartment-art studio, the audience was silent as the most natural of dialogue was exchanged between Jamie’s wannabe singer girlfriend, Amelia and his wannabe-artist housemate, Winston. It was as every performance should be: a conversation between people, happening for the very first time. Amelia and Winston, played by Kitty Hopwood and Alex Shore, banter gently back and forth subtly setting the framework for the rest of the play.

It’s a sharp change of pace when Jamie bustles in, speaking just a little too quickly for actor Richard Cornally to get his tongue around. He stumbles over his words every now and then as a result, but it blends well enough into the scene. Having spent the afternoon at the reading of his estranged father’s will, Jamie is nonchalantly incandescent with hurt-fuelled adrenalin.His father has left him nothing. Not even a mere mention in the will. But after a chance encounter on his way home, Jamie has the answer to all of their problems and a plan for his girlfriend and best friend to realise their dreams. They will use Winston’s uncanny ability to replicate master artist Jean-Paul Credaux to hoodwink an art collector into parting with a large sum of money. Jamie’s quick tongue and insatiable attitude convince Amelia to pose for the life drawing. And so begins a journey of no return.

The last scene of Act 1 sees Amelia nervous about undressing for her boyfriend’s roommate. Director Byron Kaye – and Hopwood – manages the moment perfectly, with class and in context of the script. The first half ends the way it began, with finesse.

Act 2 by comparison felt rushed and out of rhythm. The awkward bumbling artistic nature of Winston began to feel forced. The ramifications of the trio’s decisions didn’t seem to sink in or truly resonate. And what had started as the most believable conveyance I’ve seen in a long while, ended with a rather drawn out cliché.

That said, I highly recommend The Credaux Canvas. It’s a clever and accurate script, with subtle direction and – in the main – believable performances from all the cast. Sure Foot Productions aims to make theatre that gets people talking; I couldn’t stop all the way home - so top marks for a job well done.