Venus in Fur

Venus in Fur
****
Theatre Royal, Haymarket

This production embodies a beautiful amalgamation of creative insight and bucketfuls of sexual tension.

One stormy evening, actress Vanda Jordan (Natalie Dormer) arrives unannounced to an audition with writer/director Thomas Novachek (David Oakes), for the leading role in his new theatrical adaptation of Leopold von Sacher-Masoch's 1870 novel Venus in Furs. What follows is a night of enigmatic power play, and the complex relationship between lust and command, master (or in this case, mistress) and servant.

With Dormer flitting between a racy PVC number and an elegant 19th century get up, her incomprehensible talent is proven as she transforms from bawdy Manhatten-ite to a European mistress at the drop of a hat (or, in this case, bustle).  There is no getting away from the fact that she steals this show; Dormer is incandescent, demanding the audience's attention unconditionally... you can't take your eyes off her.

Patrick Marber's direction is fascinatingly intricate. The back-and-forth between Dormer and Oakes could have been taken from any rehearsal room in the world, as actor and creator battle their way through the intentions and origins of the piece. As a woman accustomed to prancing around in a corset at the best of times, one can't help but feel somewhat perverse as your eye is drawn to Dormer's abundance of bare flesh, whereas Oakes' forearms are about the extent of his undressing.  Whether it be a directorial choice, or the whole point of the play, the audience is compelled to view Vanda Jordan sexually and objectively, through the male-gaze.

David Oakes brings a distinguished subtlety in his performance of Novachek, playing with David Ives' text to a heartbreaking degree. As he bends to Dormer's service, the revelation of the birth for his lust of dominance is discovered and, however titillating that sounds, the story was riddled with a devastating pain. Novachek is just about the only normalcy this play has to offer, however Oakes' generous performance should not be understated because of this.

The strains of Greek mythology and ancient tragedies running throughout are a gift to classical theatre lovers. The prominence of Venus' influence, famously having sovereignty over both gods and mortals alike, is radiant in Dormer's magnetism and Oakes' submission.

Rob Howell's design and Hugh Vanstone's lighting deserve a special mention. The set was flawless; an artistic, disheveled New York attic has never looked so good. The ambiance the two created was effortless, and so perfectly in touch with what the production needed.

Regrettably, the persistent thunder and lightning was off-putting at the best of times and the final minute was a little too random for me, although I could appreciate that it had an artistic meaning far beyond my understanding.

There will undoubtedly be conflicting opinions about this piece, however I could have happily haunted the Haymarket for longer than the 90-minutes this play provided, and I implore you to go along without any preconception.

NG x