Showmag.com

By Debbi K. Swanson

The first production of the VS Theatre Company in the Victory Theatre Center in Burbank is a stunner. This new company, dedicated to producing original works, west coast premieres, or rarely produced plays, brings us Kevin Bunin’s The Credeaux Canvas, first produced by Playwrights Horizons in New York.

Co-founder and artistic director Johnny Clark comes from Interact Theatre, Moving Arts, and West Coast Ensemble Theatre. He also plays the conflicted and emotionally stunted artist, Winston, in this production. Co-founder Kimberly-Rose plays his subject, Amelia, who is also dating his dynamic but troubled roommate, Jamie, played by Matt Skaja. Set in a dingy New York apartment, we meet this trio the morning that the will of Jamie’s father is to be read. Jamie is pinning his future on his art dealer father’s possible change of heart from bitterness to generosity. When that hope is dashed and no money is forthcoming, he hatches a plan for Winston to forge a painting by the relatively unknown artist, Jean-Paul Credeaux, and sell it to one of his father’s biggest clients, Tess, played by Marilyn McIntyre.

At first Winston and Amelia are shocked at the idea, but eventually succumb to his passionate persuasion. Jamie determines the painting can’t be a copy of an already known work, but has to be an as yet “unfound” work, so Amelia becomes the nude subject for Winston’s capture on canvas. However, during the course of their nightly sessions, secrets and suspicions are revealed. The vulnerability is displayed not only in their finely written conversation, but reinforced and heightened by the nudity. Winston senses Amelia’s discomfort at being the only nude in the room, and so he, too, sheds his clothing to create an even stronger sense of intimacy. When she also reveals her doubts about Jamie’s sincerity and her own pregnancy, the stage is set for a cataclysmic journey of misplaced and repressed emotions. Performances here are delicate and riveting.

In Act Two we meet the proposed victim of the scheme, Tess, who is indeed extremely knowledgeable about art. While McIntyre is outstanding in her role, I’m sure she’ll love to hear that she’s too young for the part. Her role is described as nearly ancient, yet she’s a vibrant 50-ish woman, without a hint of frailty. McIntyre could convince you that she’s looking at every brush stroke of the Mona Lisa from the passion she portrays in this role. She quickly dismisses Winston’s original painting as derivative but swoons over his work as Credeaux. Yet she recognizes the possibility of forgery, striking terror in the men out to con her.

The script isn’t without problems, however, namely a weak ending which fades without giving us a sense of finality or a true emotional breakthrough for the two remaining players. Yet because it is finely directed by Paul Nicolai Stein, it will move you and keep you thinking long after you leave the theater.

John G. Williams has created a rich apartment set reflecting the cloistered world of the inhabitants with Erin M. Hearne’s moody lighting. Clark says the plan is for VS Theatre Company to do three shows a year, all at the Victory Theatre Center. The goal is to build a “dynamite theatre company” in Los Angeles, and someday have their own space.

The Credeaux Canvas, at the Little Victory Theater, produced by the vs. Theatre Company, 3324 Victory Blvd., Burbank. (818) 426-6053. Performances are Fri., Sat., 8 p.m., Sun. 7 p.m. Tickets are $20.Extended through May 16.