Venus in Fur at Theatre Three
Venus in Fur is not a play. It’s an experience. Plays are a bit easier to review. Experiences have to be, well, experienced.
As I stepped into the T2 space of Theatre 3, I was immediately transported back to dozens of auditions I’ve hosted in the past. Track Curtis’ scenic design is the perfect canvas for the story. It’s not too fussy in the least. It clearly provides a defined sense of place while giving the rest of the creatives room to play. And play they did!
David Ives’ Venus in Fur is a show within a show. It follows Thomas, a playwright taking his first swing at directing, as he tries to cast the lead actress for his upcoming show, Venus In Fur. A storm is brewing outside. Landry Strickland, lighting designer, and Matthew Gray, sound designer, team up to create some incredibly moody moments with the storm elements throughout the show. After a long and unsuccessful day of auditions, Thomas has come up with no viable options for “Vanda,” his leading lady. As if blown in by the storm itself, one last actress enters the audition room, and the experience begins. Oh, by the way, her name is Vanda.
I adore two-handers. There’s nothing better than seeing a beautifully written chess match with two grandmasters. Catherine D. DuBord (Vanda) and Carson Wright (Thomas) were certainly up for the challenge. Wright had the difficult task of making the rather self-important Thomas seem interesting as we first met him. The first moments of any show are crucial. Either you are going to believe the circumstances – give yourself the opportunity to believe them – or the actors will be chasing your disbelief the whole show. Wright made me a believer. As a writer and director, I am all too aware of that dreaded conversation when you’ve spent hours in a basement for nothing. The exhaustion of Wright’s Thomas was palpable. It is this journey from exhaustion to exhilaration that makes Wright’s arc so delicious. You’d never imagine all of the things that Thomas will say and do after he meets his Vanda.
DuBord is sheer magic as Vanda. There’s something so ‘every woman” about her when she comes bustling through the door. The hood on her rain jacket obscures her face. The large suitcase she carries feels more like a chest of tricks than an appropriate bag to bring along for an audition. She uses every trick to her advantage. She easily flows between Vanda, the actress, and Vanda, the character. She does it so well that they begin to meld into one. The voice work of DuBord and Wright as they slip into the characters of Vanda and Kushemski is absolutely masterful. But, I must say, it was DuBord’s voice that looped in my head as I left the theatre.
Emily Gray’s direction is pitch-perfect. Venus In Fur is a genre-bending experience. Gray knows how to get the laugh, the drama, and the kink. In a less skilled director’s hands, this might’ve felt too much like – I’ll steal from Vanda here – “S&M porn.” It never feels that way, though. It’s an interesting case study about our proclivities when it comes to gender and our various ways of sexual expression.
Dr. Danielle Georgiou’s work as the intimacy coordinator was flawless. The intensity of the intimacy felt real and raw. Liz Helfrich’s costume design was spot on, especially that black number for Vanda. The various jackets for Thomas were beautifully sourced and added texture to the show.
Venus in Fur is one of those shows everyone must experience if they can. Now, it’s not for the faint of heart. So, put on your big boy and big girl drawers before you come.
RUNNING: Through October 20, 2024
VENUE: Theatre Three, 2688 Laclede St, Dallas, TX 75201
This production will take place in their downstairs performance venue, Theatre Too (T2)!