Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Music: Chris Pérez never saw it coming. “All I ever wanted to do was play guitar,” he told the Current. “I never thought I’d be the subject of an interview... By Enrique Lopetegui 8/28/2013
Easy Green: 10 quick ways to make money in college

Easy Green: 10 quick ways to make money in college

College Issue 2014: Sell clothes. Plato’s Closet is a great place to take your gently worn apparel in exchange for cold, hard cash. They accept clothes, shoes and... By Brittany Minor 8/18/2014
Best Bookstore

Best Bookstore

Best of SA 2013: 4/24/2013
A Small Slice of San Anto’s Spooky Haunts

A Small Slice of San Anto’s Spooky Haunts

Arts & Culture: San Antonio is one of the oldest cities in the United States, and its history stretches long before the people behind the American or Texas Revolutions... By Mark Reagan 10/15/2014

Search hundreds of restaurants in our database.

Search hundreds of clubs in our database.

Follow us on Instagram @sacurrent

Print Email

Arts & Culture

Talented Cast Scores in Playhouse’s Sexy ‘Venus in Fur’

Photo: Siggi Ragnar, License: N/A

Siggi Ragnar

Griffin and Holley turn us on in Venus in Fur

Kacey Griffin, as the protagonist of David Ives’ terrific play Venus in Fur, gives the best performance I’ve seen in San Antonio in months. Sexy, slinky and subversive, Griffin anchors Ives’ marvelous exploration of power and pelts, as a down-and-out stage director (Michael Holley) attempts to mount his own adaptation of Leopold von Sacher-Masoch’s classic novel of sensuality and flagellation involving haughty Wanda von Dunajew and her adoring slave Gregor. (It’s from Sacher-Masoch’s name that we’ve been blessed with the term (sado)masochism: Now there’s a nifty factoid for the whole family.) But the director’s plans go awry when bad luck and a terrible storm threaten to derail auditions: only the last-minute arrival of the mysterious Vanda appears to save the day. Or does it?

I won’t give away much of the plot: part of the fun is that Ives’ (apparent) two-hander is really a four-hander, as director Thomas and actress Vanda constantly slide in and out of roles (as well as skin-tight leather, and, occasionally, wrist-restraints). Thus, every 10 minutes, Ives—like clockwork—reconfigures the power dynamics between these two (or four?) characters. Sometimes that reconfiguration involves the characters’ physical positions—a mere table can turn the tables—and sometimes it’s clothing—a simple valet’s frock demotes the imperious Thomas from tyrant to lowly footman. (And I do mean foot-man. Fetishists, rejoice!) Sometimes Ives plays instead with the bizarre rituals of an actor’s audition; a naked display of power even in the best of circumstances. The whole play is a theme-and-variations on the erotics of domination.

Now perhaps this all sounds insufferably meta- or impossibly academic, and I would wager that a production of Venus in Fur with bad (or even mediocre) acting would be excruciating, and not in a delicious, S&M sort of way. But Griffin is electrifying; she effortlessly (and often hilariously) glides between the daffy, wisecracking Vanda of today and the prim, tortured Wanda of our Austrian yesteryear. (In this, she is helped by Kaitlin Muse’s effective lighting.) Holley’s role is less flashy, but he makes a solid foil to Griffin’s more flamboyant performance—and in his quieter moments, we can discern glimpses of a piercing desire, a desire that might explain Thomas’ attraction to all permutations of Vanda, whether on the page or on the stage. Director John O’Neill keeps the tempo brisk—it’s not a play that can survive any sagging—and sees the curtain fall at the 100-minute mark. Just right.

Last week, the opening of the godawful Ghost: The Musical taught us all a terrible lesson—that it takes more than flashy projection and blinking LEDs to fashion an interesting play. Venus in Fur makes that same point the old-fashioned way. It turns out all you really need for a crackling evening of theater are two actors, a sofa and an excellent script. Let the Fur fly.

Venus in Fur

8pm Fri, Sat, Sun;
3pm Sun
The Playhouse
800 W Ashby
(210) 733-7258
Through Feb 9

Recently in Arts & Culture
We welcome user discussion on our site, under the following guidelines:

To comment you must first create a profile and sign-in with a verified DISQUS account or social network ID. Sign up here.

Comments in violation of the rules will be denied, and repeat violators will be banned. Please help police the community by flagging offensive comments for our moderators to review. By posting a comment, you agree to our full terms and conditions. Click here to read terms and conditions.
comments powered by Disqus