'NEW THEATRE, Author Caudle Hit New Highs With "LIKENESS"
By Ron Levitt, Theatre Critic
October 4, 2007

The dilemma of an artist who must decide whether to paint reality as he sees it or to allow a patron to tell him to improve on nature is the core of Likeness, a world premiere at the New Theatre in Coral Gables through Oct. 28.

It is another brilliant piece of writing from Miamian-turned-New Yorker David Caudle, who turned to the turbulent times of pre-Revolutionary War Boston to explore idealism versus reality. Fortunately, with the astute direction of Ricky J. Martinez and an engaging ensemble cast, Caudle’s words come to life --- complimenting a play which took him 18 months to write. The time was well spent!

Likeness is set in the time of unrest prior to the American Revolution, but it is really not a historical drama. It is, however, a tale about family, economic class consciousness, and, of course, the honesty of an artist in how he portrays things

It all takes place in a barn on an estate near Boston in 1865, where conflict is brewing between British Loyalists and those who view a new status as Americans, The unpopular Stamp Act tax has just been levied when a young, idealistic portrait painter (Matthew Leddy) has been hired by a dictatorial Mr, Westerley (Bill Schwartz) to paint his l6 year old haughty daughter (Vanessa Thompson). Westerly wants his daughter to be painted so as to improve what nature has given her, make her more acceptable to a wealthy British potential son-in-law, and that sets off the conflict.

Along the way.Caudle’s script lets us meet the daughter’s manipulative guardian/nanny (Tara Vodihn), a relative who has close ties to Westerly (stylishly played by an exuberant Sally Bondi), and a servant learning to be an artist’s assistant (Florida newcomer Scott McKinsey). All six of the cast members help the audience understand that -- like certain paintings – people are not always what they seem.

Caudle – whose earlier works have been premiered at New Theatre, rises in stature with this period piece, which could be played at any time in history and still make sense – and good theatre. This is one of his better plays – and (as director Martin told a crowd after the premiere – has all the makings of a god movie, too!)

Set designer Jesse Dreikosen’s barn is a perfect locale for the drama. And costume designer Lynn Bowling and wig master Lazaro Arencibia obviously did some fine-tuned research in dressing this cast. Arenciba’s clipper –ship-in-the hair will amuse any student of American history. Lighting by Eric Nelson and sound by Rob Rick should get their just credit. Technically – as well as historically – this premiere is on target!