Benjamin Evett in "Bakelite Masterpiece" (photo: Andrew Brilliant/Brilliant Pictures) |
“Consider
Lucifer” is a suggestion made by the major character in the brief
play The
Bakelite Masterpiece by
Kate Cayley, which premiered in Toronto in 2014, was then co-produced
by the Berkshire Theater Group and WAM in 2016, and is now being
presented by New Rep in Watertown. Based on events concerning the
infamous Dutch forger Han van Meegeren, it's a spare two-hander
co-starring Benjamin Evett as Meegeren and Laura Latreille as the
(fictional) character Geert Piller, an art historian who has been
handed the task of determining the guilt or innocence of the painter
accused of Nazi sympathies. Specifically, the forger is accused of
selling a painting to Goering, ostensibly created by Vermeer; his
defense will be that he in fact defrauded the Nazi with his own
forgery and thus should instead be considered a hero. The title
refers to his ingenious use of a bakelite spread brushed on the
painting before baking it to simulate its aging process. Bakelite,
an early plastic, was formed from the combination of phenol and formaldehyde, (the chemical name for which is polyoxybenzylmethyleneglycolanhydride, for short). All the
action takes place in his prison cell in Amsterdam in 1946, as he
proposes to prove his skills by creating a copy of a Vermeer that
depicts Christ and a woman caught in adultery, using Piller as his
model. As proposterous as this plot point seems, (and it does in
fact become a difficult concept to accept even as some of Piller's
issues are gradually revealed), playwright Cayley has fashioned an
engrossing conversation and confrontation.
Laura Latreille & Benjamin Evett in "Bakelite Masterpiece" (photo: Andrew Brilliant/Brilliant Pictures) |
Evett and Latreille (the latter seemingly battling a
cold) were tremendous foils for one another. While the rhetoric
sometimes bordered on the hyperbolic, they maintained their
characters throughout the intermissionless, ninety-minute work, under
the focused direction of Jim Petosa, the company's Artistic Director.
Evett, in the showier role, displayed his familiar no-holes-barred
delivery, in one of the most powerful roles of his estimable career,
at times literally throwing himself into the fray. All of the
technical elements contribute to the feeling of being hemmed in by
history. The Set Design is by Christina Todesco, with Lighting Design
by Scott Pinkney, Costume Design by Molly Trainer and Sound Design
and Original Musical Composition by Dewey Dellay, each helping to
forge belief in the incredible plot premise.
The painter/forger's urging to “consider Lucifer”
(the angel who disobeyed and thus was thrown out of heaven and into
hell) questions whether truth demands some doubt and whether being a
“perfect fraud” is worse than a complete fool. He also alludes to
the fact that the New Testament evangelists who wrote the Biblical
story never revealed exactly what Christ wrote in the sand that
effectively prohibited the crowd from stoning the woman; tradition
maintains that it was an allusion to the sins of those all too ready
to pick up the stone. And he further questions whether sometimes hate
can be useful, as well as if forgiveness is always deserved. For
those eager for irony, let them consider the program note that
Meegeren's “original” forgeries have been replicated by still
later forgers, including his own son. “Consider Lucifer” indeed.
Let she or he who is without guilt (including critics)
throw the first stone, through April 8th.
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