Theater is energy, and in David Ives acclaimed play Venus in Fur, directed by Shana Cooper, it is the play of energy that becomes the focal point of the experience. As always with The Seattle Repertory Theater the set (Sybil Wickersheimer) is flawless. Amazing sets have come to be expected of The Rep, and it is not so often a set has a ceiling, like the florescent lit one in this brick-interior artist’s loft. The energy of this construction is the first impression, and if expectations are not already high, the details and construction of this room with opening windows, exposed piping, and fully wired lighting will raise them immensely.
As the lights (Geoff Korf) come up on the action, playwright Thomas (Michael Tisdale) complains of his inability to find a legitimate actress. Soon after his phone call has ended, the energy enters the room as Vanda (Gillian Williams) gobbles up the fore mentioned scenery as her sexually charged performance begins earnestly. Even as Williams explodes onto the scene, Tisdale manages to tamp the energy as he swallows his words, just barely filling the enormous Repertory hall. In a play where making love to the audience is paramount Tisdale falls flat and never matches the energy of his counterpart. His gestures are predictable and cliché as he scratches his head in confusion, or puts his hand on his chin when deep in thought.
As distracting as Tisdale’s phoned-in performance is, there are remarkable aspects to this seemingly expensive production. Though Shana Cooper was unable to extract much from her leading man, Gillian Williams takes direction well. Her body moves fluidly and believably through space as Vanda auditions expertly for Thomas. Her long legs and sexy costumes (Harmony Arnold) keep this play above water, even as Tisdale drowns under her sheer ability, and the last hope for Thomas to exude some sexuality of his own is dashed, as his jeans are loose enough to sag, when tight jeans might have woken him up long enough to sustain some palpabiltiy in his sex appeal and performance.
Williams’ dominance is appropriate in this play driven by feminism and gender roles, and when she plays the piano with her leather boots to punctuate her gender-bending monologue her sustained energy reaches its climax. David Ives, a well known and successful playwright, may have overstepped his bounds this time, however; famous for his witty one-acts, he is not to be trusted with feminism, as his point of view seems at times outdated, and at times convoluted. Thomas reminds us “it’s complicated” but in 2014 it isn’t. Equality between sexes has come further than Ives suggests, and this reviewer doesn’t feel the need to be reminded not to “fuck with a goddess”.
The Rep has done it again. With their seemingly bottomless pockets they have brought Broadway to Seattle with impressive production value, and high-class theater. They raise the expectations of what a play should be. It would be nice if they matched the energy of their values, without being culpable for mediocrity.
Venus in Fur runs from February 7th-March 9th, Tuesday-Sunday at 7:30, with Saturday & Sunday matinées at 2:00. Tickets are available now through the Seattle Rep Box Office at (206) 443-2222 as well as online at www.seattlerep.org. The Seattle Repertory Theater is located at 155 Mercer Street in the Seattle Center.