Patrick Marber couldn’t be more unlucky regarding the timing of the opening of his production of VENUS IN FUR. Whilst the whole world is trying to deal with the revelations regarding Harvey Weinstein and the power of the #metoo movement stands an actual chance of enabling our society to finally face the harrowing reality of rape culture, Marber’s production of David Ives’ VENUS IN FUR, despite a fantastic performance from Natalie Dormer, seems like the most unnecessary and non-urgent piece of theatre one could watch right now.Thomas (David Oakes) is adapting Leopold von Sacher-Masoch’s 19th century novel VENUS IN FURS. The young writer is also desperate to direct it himself, but alas all the actresses that he has auditioned so far were no good and he complains to his girlfriend on the phone “half of them are dressed as hookers and half as dykes”. As Thomas is ready to leave for home, Vanda (Natalie Dormer) arrives. Yes, she is late for her audition but she is quite convincing, especially once she reveals to Thomas that she came prepared and takes off her coat to reveal a leather corset and all that kinky stuff. Thomas is hooked and so the two of them begin the reading of the play.
Since its premiere in 2010 Ives’ VENUS IN FUR has been produced many times and was even adapted onto the screen by the infamous Roman Polanski. I can see where the fascination with the piece comes from, as the gender politics theme can appeal to many, however there is not enough depth in Ives’ writing let alone his understanding of female sexuality. Let’s be honest here, the whole thing is just too male centric to be a truly important piece that holds any potential of exploring misogyny, power or even S&M.
Marber’s direction leaves a lot to be desired, especially as he misses the point of making a socio-political stance against sexism in the industry, instead deciding to concentrate on laughs and conforming to the idea of objectifying Vanda. Dormer delivers a powerful and energetic performance and she completely upstages Oakes, unfortunately his Thomas appears just a little bit too bland to make any sort of impact on the audiences. The Game of Thrones star not only manages to completely steal the show but her presence and command of the stage manage to make Vanda into a multidimensional character.
There is a lot more that I could criticise this production for, but perhaps one of the most problematic aspects of it could be reduced to one simple phrase, male gaze. Alike the poster advertising, VENUS IN FUR; the play itself looks at women from a solely male perspective and there is nothing redeeming or sexy about that.
The Vaudeville kicks off its exciting year-long Oscar Wilde season with A Woman of No Importance, directed by Dominic Dromgoole. It is a play packed full of Wilde’s zingy one liners and witty satire of upper-class society.