ART

What begins with a white canvas, seen as meaningful modern art by Serge (Damon Herriman) who purchased it for 160,000 euros, and  by Marc (Richard Roxburgh) as ‘white shit’, while the third member of the cast Yvan’s (Toby Schmitz) opinion vacillates, deepens into an exploration of a longstanding friendship between the three men.

The success of this play is assured by excellent casting, imaginative lighting and expert direction by Lee Lewis. As the discussion, returning from time to time to the painting, rages, the battle lines are drawn, and insecurities defined and explored. What might simply be a superficial talk-fest becomes a display of timing and characterisation by the three. Yvan’s upcoming wedding, as a subplot, shines a light on the attitude to women, which lends further insight as to the underlying strength of the relationship between the three, men, who have had a long friendship.

While being very entertaining it is hard to take their differences seriously, even when the conflict becomes physical. The underlying bond between the three seems secure, this being demonstrated by the resolution at the conclusion. 

The set is a simple arrangement of wall features, which, together with the light changes, ensures that the action moves effortlessly between monologues, mood changes, and heated disagreements. The white canvas appears, is carried off, and reappears, almost as a de facto member of the cast.

This play was first staged in Paris in 1994, yet is surprisingly relevant, even if the argument about abstract painting is now dated. Human nature, relationships and friendship are as relevant now as they have ever been.

Her Majesty’s Theatre

20-24 May