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.

Hedda Gabler

Hedda Gabler is playing at the Tap Gallery until 11 March

Seven characters, a pair of pistols and a late 19th century lounge room with two ornately decorated chairs. Throw in a few of the seven deadly sins - anger, envy, pride and of course, lust - and you have the story of the troubled Hedda Gabler, a story that takes place over a mere 36 hours.

Henrik Ibsen's 1890 play is revived and beautifully captured by Director Liz Arday and Sydney-based theatre company Factotum, featuring at the TAP Gallery in Darlinghurst from March 1st - March 11th 2012.

TAP Gallery is a marvellous setting for this play; as you walk up a narrow set of stairs you are greeted with a menagerie of books, art, mis-matched furniture, conflicting paint colours and random objects that one might find at a garage sale. This is a brilliant contrast to the minimalistic staging, props and wardrobe of the performance.

The quaint theatre fitting only 64 seats draws you into the production so deeply it feels as if you were spying on a neighbour or peeping through a keyhole, witnessing events which make you feel uncomfortable yet you can't tear your eyes away.
The actors create a very intimate energy which pulses through the audience.

Hedda Gabler, played by Rebecca Wood, is the perfect manipulative character that every bourgeois society needs and loathes. She is a puppeteer who skilfully sculpts her desires by subjecting those around her to torment and fear - albeit indirectly and ever so subtly, as a true master of puppetry would. The audience is not privy to her desires and at times it seems neither is Hedda; as her actions ultimately cause chaos to herself as well as to those who are pulled into her twisted web.
Did I mention this happens in only 36 hours?

Betrayal and lust are the most common themes of this play and propel the tale from just your ordinary highbrow shrew who orders people around, into the tale of a proud, ambitious lady who burns with passion for one man, is married to another and is blackmailed and propositioned by a third.
The standout actors are Rebecca Wood who plays Hedda Gabler and Richard Hillier who plays the blast from her past, Ejlert Lovborg.
They each engulf the complexity of their character, their chemistry leaving you almost breathless.
An intensely dramatic play well worth a look.

Reviewed by Lana Hilton

Freedom "People's Choice" Exhibition January 2012

Calling all artists to submit artwork for the Freedom "People's Choice" Exhibition January 2012.

TAP Gallery, one of Sydney's most innovative galleries and Amnesty International Australia, the world's largest human right organization have teamed up for the 16th year running to present the FREEDOM exhibition. The exhibition will be on display from 17-30 January 2012. The official function and presentations on SATURDAY 21st January from 5-8pm will feature live music, high profile speakers, celebrity judges and light refreshments. Each year 100's of guest have enjoyed this festive atmosphere.