VENUS IN FUR -no matter who's on top they both win
Power is intoxicating, but in the sexy, and funny, drama VENUS INFUR, now playing at the OnStage Playhouse in Chula Vista through June 15th, itcan leave you wondering- in the game of power politics who is it that actuallyhas the upper hand?
In this charismatic theatrical duet we find theatre directorThomas (Tom Steward) ending a long and frustrating day auditioning actresses, allof whom he tells his fiancé over the phone, are “hopeless.”” He has adapted aplay of the nineteenth century book by Leopold von Sacher-Masoch titled “Venusin Fur” and casting isn’t going well. Yes, the authors name sounds familiar becauseit is the one associated with sexual masochism. But don’t worry, this play isn’t really about sex, it’s about power,which as we learn is its own kind of kink.
As a storm crashes outside, in stumbles Vanda (Sandra Ruiz), anactress who is soaking wet, hours late for her audition, and talking a mile aminute. At one glance, Thomas knows sheis not right for the part and he gently tries to dissuade her, or at least reschedulefor when he’s in a better mood. Vandakeeps talking and eventually wears him down and he agrees to read with hersince everyone else has left and it might be the quickest way to get her toleave.
Even though she inexplicably shares a name with the female characterin his play, Vanda is deliberately blunt about how she sees the play. “Basicallyit’s S-and-M porn,” Vanda proclaims, irritating Thomas, who condescendingly correctsher. “‘Venus in Fur’ is a great lovestory,” he practically growls in frustration. “It’s a serious novel. It’s acentral text of world literature.
Well, that may not be true, but neither is the idea that Vanda doesn’tknow what she’s doing. Not only is she prepared, she has a bag full of costumesappropriate for the shows time period, and it appears she may have more knowledgeof the book than she initially let on. ForThomas, as they read from the play it quickly turns from a begrudging auditionto a more enthusiastic exploration of the play and the discussion points itraises.
Vanda proves herself more than a capable actress, seeminglyeffortlessly sliding into the European accents of the play set in 1870 andfurther captivating Thomas as he sees his character come to life beforehim. So it’s almost disconcerting forboth him and the audience when Vanda switches back to present day to ask abouta line reading or to question a characters motivation. As the lines betweenreality and the play within a play continue to blur the show becomes a duel forpower, seduction, and control.
It’s smart and deliberate pacing by Director James P. Darvas allows the audience and Thomas the chance to come back and re-calibrate their reality between scenes of the play within the play.
Ruiz’s Vanda is mysterious,quick, and cunning; she knows more thanshe initially lets on, but how? Why isshe here? What does she really want? Howdoes she know so much about Thomas and this play?
Steward’s Thomas is atfirst in control, but as he starts to succumb to Vanda’s sirens lure of a performanceit makes one wonder if this play of his is really just a play or a subconsciousself-revelation.
And why does the thunder of that storm seem to crash at theperfect moment every time?
Lighting Design by Santiago Venegas and Sound Design by KelsieMorris add just the right ambience for this duel.
VENUS IN FUR is an intelligent and entertaining debate on the intoxicationof power, sex, and the games people play. Does the hand that holds the whip hold the power, or does the personallowing this demonstration of power really run the show?
VENUS IN FUR is paying through June 15th at the OnStagePlayhouse I Chula Vista. For ticket andperformance times go to www.www.onstageplayhouse.orgor call 619-4222-7787