Venus in Fur by David Ives to March 28
Starring Nina Ariadna and Wes Bentley
By: Charles Giuliano - Mar 08, 2010
Venus in Fur
By David Ives
Directed by Walter Bobbie
Scenic Design, John Lee Beatty; Lighting Design, Peter Kaczorowski; Costume Design, Anita Yavich; Sound Design, Acme Sound Partners; Stage Manager, Christina Lowe; Press, The Publicity Office.
Starring Nina Arianda (Vanda), Wes Bentley (Thomas)
Classic Stage Company
136 East 13th Street
New York City
Through March 28
David Ives has used the theatrical device of a play within a play for his brilliant, two character smash hit Venus in Fur in an extended run, through March 28, at the Classic Stage Company. Ives has written a fascinating, astonishing script. The direction of Walter Bobbie is stinging, and fast paced with a lot of action and energy.
With a crackle of thunder and lightning, setting an ominous tone, the curtain drops with a clap to reveal a barren, industrial setting. There is a bit of generic office furniture and the proverbial casting couch. The stage is lit harshly under rows of fluorescent tubes.
It is the end of a long and unproductive day of casting for the female lead of his first staged play Venus in Fur. It is based on the legendary 1870 novel Venus im Pelz by the Austrian Leopold von Sacher-Masoch. The novella about abusive love spawned the term Masochism and its spin-off S&M. The S part stands for Sadism so named for that other infamous author the Marquis de Sade. They make for quite a pair. The salt and pepper of kinky love.
Thomas (Wes Bentley) is on the cell phone venting frustration to Stacey, his fiancée. He assures her that he will be home soon.
It has not been easy to find his Vanda based on the novel's Wanda von Dunajew. She is the woman who is induced to abuse and dominate the weak and perverted Severin von Kusiemski. His infatuation and affliction is conveyed by the term suprasensuality.
Just as Thomas is about to douse the lights and head for home Vanda (Nina Arianda) arrives. She bursts onto the stage with a cyclone of energy and frenzy that, while superbly nuanced, never lets up. From her first frenetic, supercharged moment on stage we are completely enthralled by her charisma. We yearn to submit to her compelling erotic charm.
The first impression is that she is some street smart, ditzy dame. Perhaps she is a hooker or out of work dominatrix looking for another life in theatre. Why not take role playing with johns onto the stage.
Thomas hardly knows how to behave and react to her assault of over the top role playing. She insists that she is just late for a scheduled audition. He checks the list. Her name is not on it. But she prevails that she is perfect for the part which she has glanced at during the subway ride.
"My name is even Vanda" she says stressing the first of many inexplicable ironies. With lots of foul language she rummages through an enormous tote bag of gear and props. There is a broken umbrella to stash. Then stripping off a rain coat she is revealed in full dominatrix gear. Just to get into the mood for the part she explains. Again we wonder what she is up to. Then she drops her leather skirt to reveal a teddy with black lace panties, net stockings and spiky boots.
Initially she talks and cavorts about like a tough broad with a low class style and accent. But like a kinky Eliza Doolittle, when she finally gets to read the part, the audience howls as she morphs into an elegant, ersatz British Duchess. Just how is this possible? Is the street tart persona just another aspect of her talent and an unfolding scheme?
After bullying and abusing him with an array of tricks, including turning on the tears, a clincher when women want to get their way, he agrees to read with her. But he protests that he is not an actor. She mocks this saying who knows the character of Severin better than he? She implies that he may even be Severin. He is shocked by the suggestion. He refers to the novel that inspired his play as a Love Story. She insists that its just "19th Century S&M porn."
For the author, Thomas, it may all be high art but Vanda appears to have another ever more complex agenda. When they start to read he is astonished that she has the entire script. "Where did you get that" he asks? "My agent" she replies. "Why, is it a secret?" Instead of "glancing at it on the subway" she recites off book. Then it is revealed that she has read the original Sacher-Masoch novel. Just research for the part she insists. But we wonder just what is going on.
Gradually the characters evolve from reading a play to inhabiting the roles in real or theatrical life. Thomas increasingly behaves like the submissive Severin. Eventually Vonda beats, torments, and humiliates him. The notion of a play within a play has been twisted inside out. It is a Pirandellian metamorphosis.
While Wes Bentley holds his own as Thomas this play is all about Vonda. This is the breakout role for Nina Arianda that establishes her as a New York star. It is the most versatile, astonishing and brilliant theatre debut that one is likely to encounter in a lifetime. One day, we will have bragging rights to have seen this great actress in her first New York hit. Based on this performance, which has wowed the toughest of New York drama critics, we will be hearing a lot from Ms. Arianda.
Beg for tickets while you can. I got the last seat for a Sunday matinee. Chatting with the actors after the show they mentioned that producers are talking. But these days too few Off Broadway shows make it uptown. The conventional wisdom is that you need a big name on the marquee to fill those larger venues. Right now, Nina Arianda may not ring a bell with tourists but, trust me, A Star is Born. And how.