REVIEW: The Credeaux Canvas
Keith Bunin’s play invites its audience into a small, paint-splattered New York apartment, home to Jamie, a disinherited son of a prominent art dealer and Winston, a master’s art student.
Left penniless by his unloving father, Jamie connives a plan: convincing the wealthy art connoisseur Tess, a former client of his art dealer dad, into purchasing a rare painting by Jean-Paul Credeaux, an obscure artist.
Winston, a talented art student reluctantly drawn to the plan, attempts art forgery, with Jamie’s girlfriend Amelia, an aspiring singer posing nude for the faux Credeaux. As the tragi-comedy play centres on the dreams and fear of failure of the trio, this gives an insight into the disillusionment of entitled generation Ys in the early 2000s.
Believed to be the first post-lockdown play to open The Credeaux Canvas will be presented under strict health directives, with audiences limited to 24 people per performance and all socially distanced.
Produced and directed by Les Solomon from a play by Keith Bunin, it’s laced with humour, sexual tension and a very unusual nude scene. Starring Samson Alston, Jasper Bruce, Rachel Marley, Tom Kelly and Beth Daly.
Until Aug 23. El Rocco Cafe and Theatre, 154 Brougham Street, Kings Cross. $25-$35+b.f. Tickets & Info: www.trybooking.com/BKFGC
Reviewed by Kirsta Cheung
