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I found the script of “Venus in Fur” by David Ives one of the most scintillating I have read in years, and I approached the Aux Dog Theatre’s production with eagerness and trepidation. Could director Kristine Holtvedt and her two-person cast capture the sexy excitement, the mysterious magic realism, and the intellectual challenge of this brilliantly funny and erotic play?
I am delighted to report that the short answer is YES! The plot of Ives’ “Venus in Fur” is like a set of nesting dolls – a novel within a play within a play. Ives’ drama (1) revolves around a play (2) adapted by fictional playwright Thomas Novachek from an actual 19th novel of sexual obsession (3) by Leopold von Sacher-Masoch (whose name is immortalized in the word “masochism”). Thomas is frustrated in casting the female lead until he auditions enigmatic Vanda Jordan.
The common central story is of a man who early in his life discovers a sexual thrill in the pain of being caned by a domineering woman while lying on a sensuous fur. The dominant woman becomes associated with Venus, the powerful goddess of love.
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If you go WHAT: “Venus in Fur” by David Ives. WHERE: Aux Dog Theatre, 3011 Monte Vista NE. WHEN: Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through March 31. HOW MUCH: $18. Call 254-7716 for ticket information. |
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Thomas and Vanda portray and become the submissive/dominant couple. Ives’ play begins with thunder and lightning. Thomas is on the phone expressing his irritation at not finding a suitable Vanda – beautiful, sexy, articulate, intelligent – after 35 auditions: “Our Vanda’s got to be out there somewhere.”
A clap of thunder and a knock on the door. Drenched Vanda Jordan (name coincidence?) enters and wants to audition. She seems far from the playwright’s vision until they begin to read from the script together. The electricity moves inside; she is everything he is looking for and more. Going in and out of character, Thomas and Vanda perform and discuss power dynamics in an erotic, sadomasochistic relationship.
They demonstrate and discuss the permeable intersection of sexual pain and pleasure. The modern Vanda points out example of sexist dialogue and Thomas defends his drama. The play operates on many levels – all fascinating.
The acting elevates this production. As Thomas, Brennan Foster is better than I have ever seen him. His character becomes more complex as the play unfolds. Foster portrays a rather pedantic playwright and reluctant actor who grows into his dramatic role and his personal role as he comes under the sensual spell of Vanda.
In his opening speech, Thomas says, “I’d be a better Vanda than most of these girls;” by the end of the play, Thomas plays Vanda. Foster makes the most of his role. The play, however, belongs to Sheridan Kay Johnson who plays Vanda, one of the finest parts in recent theater.
Johnson’s character spends a lot of time in her black lingerie and studded dog collar (kudos to costumer Jaime Pardo) and she is luscious. Johnson’s transitions between Vanda the character and Vanda the actress are hilarious, and she plays both roles with alluring verve and intensity.
The playwright within the play observes, “Don’t we go to plays for passions we don’t get in life?” I recommend it.
— This article appeared on page F5 of the Albuquerque Journal
