Review by Macey Levin
Under what circumstances would a convicted art forger gain his freedom by forging another masterpiece? The current production of The Bakelite Masterpiece by Kate Cayley, jointly produced by WAM Theatre and Berkshire Theatre Group at the Unicorn Theatre in Stockbridge, explores an historical incident in the Netherlands during the late stages of World War II.
Han van Meegeren (David Adkins) has been sentenced to be executed for having sold an original painting by Dutch Master Johannes Vermeer to Nazi leader Hermann Goering. His defense is that the painting was his forgery. The prosecutor Geert Piller, (Corinna May) an art historian and resistance fighter, conducts one last interview demanding Meegeren sign a prepared confession. He refuses citing the fact that the painting was not the original. To prove his facility at forgery he requests that he be allowed to demonstrate his ability to recreate another Vermeer. Out of curiosity, Piller agrees.
He tells her he will reproduce Christ and the Woman Taken in Adultery, the “long-lost” painting he sold to Goering, if she will pose for him in a blue dress. Reluctantly, she agrees. Instead he paints an interpretation of Vermeer’s Woman in a Blue Dress. Both are attempting to define their respective version of the truth; he to demonstrate the validity of his claim; she to reinforce the case against him. As van Meergeren starts to paint, he and his watchdog develop a relationship of mutual respect. After feinting and parrying through several conversations each becomes concerned for the other.