Before stepping into the Sterling Stage Friday night, I had only ever seen David Ives’ Venus in Fur performed once, but it was a performance that stayed with me. A staggering work, it’s a war of the mind between two competing ideologies that respects the intentions of both sides while still having a voice of its own, a complex tete-a-tete that still has time to be wildly entertaining and even a bit sexy. This is to say, it’s a difficult work to produce, as if even one part of the cast or crew isn’t completely committed to the vision, it feels insincere, and in a production that relies on this much vulnerability, insincerity is a death sentence. As such, I walked into this latest production, the debut full-length production from Dirty Gold Theatre, with some trepidation. It was a joy then to discover that not only did the production succeed, it exceeded my expectations. Director Roy Lazorwitz, along with his stellar crew, make smart choices throughout, creating a world where tension and humor dance in a steady, but dangerous waltz; where a dingy audition room becomes the Carpathian mountains at a moment’s notice; where the intimate space of the Sterling Stage becomes its strong point, allowing the audience to feel the tension in the air like humidity. This is to say nothing of the performers themselves, who give a pair of performances that are never short of enrapturing to watch.
Venus is Fur is about a lot of things, but on paper, it’s simply a story about a struggling actress coming to audition for her dream role, the role of Vanda in an upcoming adaptation of Leopold von Sacher-Masoch’s 1870 novella, Venus in Fur. What comes next is a fascinating examination of sex, sexuality, and gender roles in modern society, which is absolutely never as dry as that sounds. We see passions cascade against each other, as a war of ideas takes center stage in a violent, sensual battle of power and submission.
Venus in Fur is a work with layers, and nowhere is that better exemplified than in the character of Vanda. When we first meet her, she’s simply a struggling actress with a bit of a chip on her shoulder, a bit abrasive, maybe even a bit ditzy at her worst, but always endlessly charming. When she begins “acting” as the adaptation’s central character, however, Vanda opens like a flower, bringing in a sense of regality and seduction. Underscoring it all, however, is a hidden sense of menace, that there’s something not quite right about her, underneath it all. As such, Vanda becomes a challenge for any actress to step into, so that Julia Bennett not only succeeds at bringing that character to life, but adding interesting dimensions to the role, is really an accomplishment.
What makes Bennett so intriguing to watch is how she transitions between the different sides of her character, or rather, how she doesn’t. Where another performer may move between each of these sides like turning a light switch, Bennett’s Vanda seems to be all things at all times, a triumvirate goddess, like the Fates, or, more fittingly, the Furies. While playing one version of Vanda, Bennett will let a sly smile slip through, or a withering glare, or might let her accent slip for just a moment so we know that there’s something deeper at play. Bennett makes such smart choices with the character, bringing a raw sensuality that feels innate, never forced, reinforced with a sparkling wit that’s instantly winning. Her ability to balance being drop-dead alluring and wildly funny, sometimes in the same scene, even the same sentence, is stunning, leading to some of my favorite moments in theatre this year. She commands the room, daring the audience to take their eyes off of her, and indeed, with no insult to her co-lead, it’s difficult to look away. I hope there’s a long, fruitful future for this actress, because in the right hands, her electric presence could be a major boon for this community.
With a character as grand of Vanda, it can be difficult to stand out, and indeed, as the play began, I started to worry that Dylan Hoeffler’s Thomas wouldn’t be able to shine with the same light as Bennett’s Vanda, but Hoeffler’s was but a flower that blooms slower, but no less beautifully. While Vanda’s confidence is obvious from out of the gate, Thomas begins at a much more insecure place, and how his confidence grows and winds around Vanda makes the journey such an interesting one to watch. What Hoeffler brings is a palpable vulnerability, a courage to lay himself bare, to let himself tap into his most secretive corners to take Thomas on a journey into the shadowy dark. The play works on the contrast of power, and so the journey of Wanda’s rise in power is played against Tom’s downfall, and so to allow himself to partake in such humiliation shows a bravery as an actor that’s undeniable. He also plays amazing straight man to Vanda’s wild antics, a grounding force that helps center us when things fly off into the deep end. Once we reach the final stages of Venus in Fur, Hoeffler shows a commitment that’s stunning to behold, a performance that meets Bennett’s if, not quite in harmony, then in a gloriously delicious dissonance.
Though I obviously enjoyed my time with Venus in Fur, do note that it’s not going to be a play for everyone. The play is full of frank discussions of sexuality, and indeed moments of intense passion. There is no nudity in the play, nor any actual sexual acts, though Bennett is very scantily clad for much of the play’s run, so if you find yourself uncomfortable around more intimate situations, this may not be the work for you. For everyone else, who is also willing to come to the production with an open mind, Venus in Fur is an absolute wonder, a smart, sexy, stunning work, where it’s obvious that everyone involved is completely committed to the vision, featuring some of the best performances I’ve seen this year.
Dirty Gold Theatre’s Venus in Fur is playing through May 17th, 2025 at the Sterling Stage. For more information, to purchase tickets, please visit dirtygoldtheatre.com.
Photos courtesy of Jill Maxwell.
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