GENERIC'S VENUS IN FUR MERITS LARGER AUDIENCE
Theater
Babe Says: Go . . . and Submit to a New Twist in an Old Battle
At
its core, David Ives’ play, Venus in Fur,
is a depiction of the age-old battle of the sexes. But in addition to exploring gender
relations, this clever work also examines power in a variety of forms – between
strangers, between lovers and between directors and actors, particularly after
an actor transforms into a muse. Although the play itself has some intrinsic problems -- the script's resolute focus on conceptual themes results in some basic holes in the plot -- the
Generic Theater’s production is riveting and the commanding performances by its
two-person cast deserve to be seen by more than the handful who accompanied the
Theater Babe in the audience.
The play begins with a director, Thomas, sitting in a grubby studio, griping on the phone to his fiancée about the talentless actresses he spent the day auditioning. Suddenly Vanda bursts into the scene, flinging epithets and her umbrella as she demands to read for the role although she is hours late for her scheduled appointment. The remainder of the tale is told through alternating use of dialogue exchanged between Thomas and Vanda and their readings from the script for which Vanda is auditioning: an adaptation of the 19th century novel Venus in Furs which is credited with inspiring the term “masochism.” That wordplay explores gender roles, attraction, dominance – sexual and otherwise – and toys with the idea that deliberate submission is in itself a powerful act.
Vanda is the star role in this show (indeed, role originator Nina Arianda won the Tony for Best Actress in a Play when it made its Broadway debut in 2012) and Tashana Latrice’s performance is worthy of the challenge it presents. From the moment Ms. Latrice stalks onstage, she commands our attention and her seamless repeated transitions from obnoxious New Yorker to 19th century aristocrat are fascinating. Frequently dressed in no more than lingerie, Ms. Latrice confidently struts about the stage, at times seemingly ignoring her unconventional costume before she suddenly turns the full force of her sensuality on Thomas – and us -- which only adds to her mystique and allure. Only minor missteps mar an otherwise excellent performance. Early in the show, Vanda has a few lines that are distinctly different from the rest of her dialogue and Ms. Latrice utilizes a Western twang to deliver them. The choice makes sense in context, but it doesn’t quite work; the delivery is neither natural enough to be teasing and flirty, nor is it over-the-top enough to be broad comedy. It is a jarring note that distracts us from the relentlessly powerful character she creates. Ms. Latrice also needs to be more conscious of the unusual configuration of the audience. Particularly when she is downstage right, she has a tendency to square off against Thomas with the result that a third of the seats can see her only from behind or in profile; her performance would be enhanced by her slightly cheating forward so that we can appreciate the facial expressions that accompany her body language. But these are minor points, raised only because they unnecessarily detract from Ms. Latrice’s compelling, captivating performance.
The role of Thomas is less obviously interesting. The character is little more than a foil to contrast with Vanda and Thomas is saddled with some speeches that can be best described as self-indulgent pontifications by the playwright. But Garney Johnson takes what could be a flat, dull character and layers it with complexity so that we are drawn in to the director’s adversarial relationship with the actress – and that choice creates the space necessary for the Vanda character to flourish. If Mr. Johnson’s performance were less persuasive, the play as a whole could quickly devolve into tediousness; it is easy to see how in the hands of a less skilled actor, Thomas could be a whiny bore. In this production, however, Mr. Johnson’s subtle performance conveys a tension within Thomas himself which adds to the external conflict. In Mr. Johnson’s finely nuanced interpretation, we see Thomas’ exasperation with the long day of fruitless auditions … his insecurity that he is directing a show although he himself is not a talented actor … his fear and perhaps shame that his fiancée is more successful … his appreciation of his relationship with his fiancée combined with his reluctant acknowledgment of his dissatisfaction with it … his arrogant sense of entitlement as a director … his need to assert masculine authority ... and his underlying curiosity and desire to be overwhelmed and, yes, dominated by the force of nature that is Vanda. Throughout the show, Mr. Johnson uses his mellifluous voice to excellent effect so we are induced to listen even when the script drags. The Theater Babe only wishes that there was double-sided tape affixed to the inside of Vanda’s boots to hold them in place while Thomas slides up the zipper so that the tension we feel emanating from him is purely sexual and not tinged with the anxiety that he will be unable to get them closed. But that is a minor criticism of what is overall an exceptional performance.
From the outset, directors Jeannette Rainey and Keith Flippen make some choices that lure the audience into sharing the intimacy of the moment. They wisely omit the announcements that are typically made at the beginning of local community productions and that, combined with the thunderstorm we hear through the speakers inside the theater, permits us to be immediately immersed in the moment. Sound director, Charles Owrey, and Lighting Designer, Ellen Moore, effectively collaborate to enhance the sense of isolation generated by the performers. The distinction between the real-time dialogue and the lines from the play-within-the-play are depicted primarily through differentiations in the actors’ speech, and accent coach Garry Manasco has helped these talented actors to ensure that those distinctions are both clear and credible.
Bottom line? Due to its subject matter, Venus in Fur is not for everyone; while the sadomasochism in this production is not horrifyingly graphic, it is an integral part of the plot. But the strong performances of Ms. Latrice and Mr. Johnson reinforce that there is more to the material than the merely salacious and their fascinating portrayals of these unconventional, dysfunctional characters are well worth the time and ticket price.
Performances run thru October 19th
Thursday – Saturday at 8 p.m.
and Sunday at 2:30 p.m.
at the Generic Theater
215 St. Paul's Boulevard,
Norfolk, Virginia
(under Chrysler Hall – access through
lower level of parking lot)
Tickets are $15 with discounts
for students, seniors and military.
Reservations can be obtained by
calling the box office at (757) 441-2160
or online at http://www.generictheater.org.
© 2014
Hampton Roads Theater Babe. All Rights Reserved.