Carson Wright, back, and Catherine D. DuBord in Theatre Three’s ‘Venus in Fur.’ (Photos by Jeffrey Schmidt)
I’m not gonna lie. I’ve been reluctant to write this review about Theatre Three’s Venus in Fur. Can a production be so well done that it’s unreviewable? Or did it just mindfuck me to such an extent that I now have writer’s block.
Either way, Venus kicked off Theatre Three’s new season with a spank and a slap in all the right places.
David Ives’ two-character play is a succinct study in sexual power and energy through the lens of a theater audition. Thomas, a playwright and first time director can’t find his “Vanda” character because all the actresses are too old or too young. Talking to his fiance, he’s about to call it a day until Vanda bursts in shouting apologies for being hours late to the audition. Reluctantly, Thomas takes the audition only to discover, this Vanda may be his “Vanda” after all. Her audition soon becomes a deep exploration of his play about the sexual hunger of an 1800s Russian aristocrat and her dominating power over her submissive partner Severin. But as Thomas and Vanda go in and out of character, the lines begin to blur.
Director Emily Gray crafted this show with equal parts humor, horniness and drama and the result was a poetic 90 minute masterpiece. The pacing of it had the energy of a thrilling ball game filled with anticipation to see who will win. The stage wasn’t just the setting, but instead a battleground for these two characters. And Gray might not have succeeded without the stunning work of actors Catherine D. DuBord and Carson Wright at last Saturday night’s opening.
In short, this throuple got it going on.
Wright brought Thomas to life with layers of characterization. Thomas doesn’t seem overly interesting as a creative type. He’s straight-laced and a bit on the humorless side. Wright found the ideal mix of nuance and personality as Thomas began with a meh and then evolved — or devolved (?) — throughout the story. He was sympathetic but no pushover and as Thomas began to embrace a certain side of himself, Wright moved into that with such delicate subtlety into this new facet of the character.
DuBord turned out a dynamic and explosive performance from the start. Vanda was loud and brash but also earnest to do the audition. DuBord channeled all that into a memorable portrayal that also had her change costumes onstage and serve up some erotic and sensual posturing. Her character had a distinct dichotomy and DuBord never missed a beat going between Vanda and “Vanda.” Ives’ writing puts the male gaze on the female character, but both the writing and DuBord’s performance never made it feel too cringe. Even with DuBord in minimal costume, her sheer power defied any objectification.
A cozy setting in the Theatre Too basement space was thoughtfully put together by Scenic Designer Track Curtis. A messy desk and well-placed furniture defined the setting well and served as a playground for the actors as they crawled under desks and over chaise lounges. There was even a pole for the necessity of the characters being tied to. Landry Strickland’s lighting served the story’s dark tones well. The lights created a desolate ambience as the two characters seemed to be the only people alive and mixed with Sound Designer Matthew Gray’s stormy noise, this moment in time felt both dangerous and bleak.
As the show’s Intimacy Director, Danielle Georgiou’s work was cut out for her. The close and intimate moments between the two actors were believably intense and appropriately uncomfortable for the show. Georgiou’s handling of the material along with the actors was masterful for this play’s dialogue and exchanges. For DuBord, Liz Helfrich’s costuming had to be undeniably revealing. Helfrich mixed both a sexy style with a dab of a warrior’s or superhero’s armor that was more empowering than promiscuous. Her remaining wardrobe was also well-cut and flattering to both characters.
Venus in Fur was simply an astonishing theater experience that was thought-provoking, funny AF, naughty and smart. Enough so, that even the audience didn’t move after the standing ovation. We all had to take a moment to breathe and process and there was no safe word for that.
The show runs through Oct. 20.
–Rich Lopez