Venus in Fur

This is a dark gothic tale peppered with humiliation, cruelty and eroticism. It takes place over 100 minutes of continuous time on a dark and stormy night in an NYC indie theatre space. The time structure makes the storytelling riveting. A writer/director auditions a late arrival actress for his play Venus in Fur. But nothing is really as it first appears. Vanda, the actress, played by Anna Houston, begins as a ditzy Jersey girl (think Barbra Streisland in The Owl and the Pussycat) who at first appears to be the epitomy of all the writer/director Thomas (think George Segal in same film) is appalled by in the current crop of aspiring New York actresses (think, quote ‘a four year old on helium’). But the power shifts during this twisted tale as Vanda undergoes a series of astounding transformations. The tension in the room is palpable as power is snatched and twisted and gender stereotypes bent. This is an excellent play, skilfully delivered by a very capable director and highly talented actors, heightened with powerful lighting design from Sian James-Holland and sharp sound design from Jessica James-Moody - indicating that the gods may or may not be crazy but they certainly are vengeful.

The Eternity Theatre is Sydney’s most beautiful and effective performance space and as an ex-Baptist tabernacle it’s the perfect setting for a mere human’s clash with the gods. Stage is simply set by Production Designer Mel Page with the detritus of a rehearsal room and all the design elements, props and costumes emerge from the space or from Vanda’s many bags. The mood is set with loud thunder claps and a self-absorbed monologue by the lone director. Then the actor enters the space and in Pinteresque mode the play accelerated ahead for the next 90 minutes. I’ve seen this play twice and the Roman Polanski 2013 film twice (it’s astounding!) and upon every viewing I find something different in this intriguing and dark tale. Don’t miss this play.

Stephen Carnell

Photographer: Helen White.