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Tina Jones and Tristan Vaughan in "Venus in Fur." Tom Kochie photo[/caption]
By Annette Hinkle
When it comes to love, who knows what truly lurks in the hearts of men … or women for that matter?
The dark inner workings of human nature can lie in stark contrast to the outer protective shell which is filled by lines people dare not cross in the light of day. But as the light fades, the tables — and the desires — can turn, especially when no one is looking.
The Hampton Theatre Company is currently offering a production of “Venus in Fur,” a saucy little two-hander by David Ives which explores the seamier side of human sexuality. While the playwright seems to relish the notion of taking his audiences for a quick dip into the deep end of the dominance pool, the larger social issues the play touches on end up being of far greater interest and import.
“Venus in Fur” is actually a play-within-a-play, and the title references an 1870 book of the same name by Austrian author Leopold von Sacher-Masoch. In case you’re curious about the territory into which this play delves, keep in mind that it is from Masoch’s name that we derive the word “masochist” — consider him the kinky cousin of the Marquis de Sade, that 18th century French nobleman with a pension for pain who we have to thank for the concept of sadism.
Though shades of both end up making an appearance in this concise one-act play, which is directed capably by Diana Marbury, the whole exercise begins on a much more legitimate plane.
Set in a seedy downtown loft/office space in present day Manhattan, “Venus in Fur” opens with frustrated playwright and director Thomas Novachek (Tristan Vaughan) struggling to find the right actress to star in his new play, which is an adaptation of Sacher-Masoch’s book “Venus in Fur.” As the lights go up, he’s on the phone with his fiancé complaining that none of the would-be starlets who have shown up to audition so far possess the maturity, depth, intelligence or sheer sex appeal required for the lead character in his play, dominatrix Wanda von Dunayev.
So with the day’s light fading and a thunderstorm setting in, Thomas decides to close up shop for the day and join his fiancé for dinner.
Suddenly, a curiously named actress Vanda Jordan (Tina Jones) bursts in. She apologizes for being so late for her audition, despite the fact she seems to have not made an appointment.
Though Thomas tries to put her off — he may have written the play, but he’s no actor and his reader has gone home for the day — Vanda convinces him to read the script with her. So the playwright reluctantly takes on the role of Severin von Kushemski, the man so in love with Wanda von Dunayev that he willingly agrees to be her sex slave.
It turns out that Vanda Jordan is a method actor extraordinaire. She has brought along a whole bag of period costumes and props for the audition, and she has a frighteningly thorough and accurate knowledge of Thomas’ script, as well as the source material upon which it is based. Unlike the others who have shown up to audition, Vanda is a confident and skilled actress, and though this is supposed to be Thomas’ production, it doesn’t take long for her to turn the tables and make him a true captive who succumbs to her power.
Marbury’s excellent direction is evident throughout the production and she’s fortunate to be working with two real pros on stage. The acting in “Venus in Fur” is top notch. As Thomas, Vaughan does a brilliant job of attempting to maintain the upper hand of professionalism in the face of Vanda’s prowess. As the night, and the complications, progress, the anxiety in his voice during successive calls to his waiting fiancé heighten the tension. We clearly see that he is being drawn into a world that he has obviously thought a great deal about, but has never before ventured.
Meanwhile, Tina Jones is a true tour-de-force as Vanda. This is not a simplistic role, yet her ability to step in and out of the character of Wanda von Dunayev while pressing Thomas on the deeper, intellectual motives behind his own play is mesmerizing. Tough talking, self-assured and highly aware of the mores that lead to a dual existence of societal expectations vs. secret dark desires, it soon becomes apparent that Vanda’s appearance at Thomas’ office after everyone has gone home for the evening is far more than a case of accidental tardiness.
As the ferocity of the lightening and thunder pick up outside, we can only imagine what a dark and stormy night it will turn out to be.
If this play was only about the physical desire to dominate or be dominated, it would remain a superficial exercise in alternative tastes. But themes of equality, feminine empowerment and assumed gender roles are well represented here. While not everyone will relate to the joys of being restrained for the want of love, the notion that we may feel something is missing from our lives once we’ve settled for what we think we want is a far more universal theme. Convention, acceptability and relationships driven by outward expectations may serve society, but they do little to quell the secret passions that live on in the private mind.
As we are constantly bombarded by revelations of tawdry extra-marital activities by individuals in positions of power, it may be convenient for those in charge to claim innocence and outwardly profess a distain for the profane and the subversive … but as “Venus in Fur” reminds us, the heart always knows where the true loyalties lie.
The Hampton Theatre Company’s production of David Ives “Venus In Fur” runs through January 28 at the Quogue Community Hall, 125 Jessup Avenue, Quogue. Set design is by Sean Marbury; lighting design by Sebastian Paczynski; and costumes by Teresa Lebrun. Performances are Thursdays and Fridays at 7 p.m., Saturdays at 8 p.m. and Sundays at 2:30 p.m., and a matinee on Saturday, January 27 at 2:30 p.m. with a lunch and theater package available with the Quogue Club at the Hallock House. Special dinner and theater packages in collaboration with the Westhampton, Southampton, Hampton Bays and Quogue libraries are also available. For tickets visit hamptontheatre.org, email info@hamptontheatre.org or call OvationTix at 1-866-811-4111.
on Jan 17, 2018