Overview
Synopsis
Thomas Novachek, a director/playwright, has suffered through a long day of abysmal auditions for his adaptation of the German sadomasochistic novel Venus in Furs, until Vanda, a crass and pushy actress, stumbles into his audition room. While Vanda shares the lead character’s name, she lacks her sophistication. However, when Thomas agrees to let Vanda read for the role, she displays a surprising understanding of the material. Working through the script with Thomas playing the masochistic male lead, the roleplay becomes intense, erotic, and less like acting. David Ives’ mesmerizing play explores themes of submission, domination, and power with a fast-paced, mutable language he is known for. Reality and pretend become blurred lines in Venus in Fur, and the question of “who’s on top” always has a different answer.
Show Information
Context
David Ives’s Venus in Fur premiered Off-Broadway in 2010 at the Classic Stage Company before transferring to Broadway in 2011, where it was met with critical acclaim and earned a Tony Award for Best Actress in a Play (Nina Arianda). The play is inspired by Leopold von Sacher-Masoch’s 1870 novella Venus in Furs, the work that gave rise to the term “masochism.” Rather than a direct adaptation, Ives reimagines the story as a modern-day theatrical audition, fusing contemporary power dynamics with
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Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Female |
Non-singer |
|
|
Lead |
Male |
Non-singer |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
Meta-theatre refers to drama that draws attention to itself as a play, reminding audiences that they are watching a performance. This may include breaking the fourth wall, plays-within-plays, or showing the mechanics of stagecraft. By highlighting its own theatricality, meta-theatre often creates humor, irony, or deeper reflection.
Power dynamics refer to the shifting relationships of authority, influence, and control between characters in a performance. These dynamics are often revealed through dialogue, body language, and conflict, shaping how a story develops on stage. In drama, they highlight struggles between individuals or groups, such as an artist asserting independence against those who try to exploit or silence them.
Role reversal occurs when two characters or individuals exchange their usual positions of authority, power, or perspective, often highlighting contrasts in status or identity. This dramatic device can expose hidden dynamics, challenge assumptions, and create tension or humor as expectations are subverted. It is frequently used to explore themes of power, empathy, and transformation in theatre and storytelling.
Subtext refers to the unspoken thoughts, emotions, or intentions that lie beneath a character’s dialogue or actions. It provides depth and complexity to performances, allowing audiences to sense hidden conflicts or desires. Directors and actors often rely on subtext to create nuance and tension in storytelling.
A two-hander is a play performed by only two actors, with the entire story built around their relationship, dialogue, and interaction. This format often heightens dramatic tension, as the focus is entirely on the dynamics between the two characters. Two-handers are common in intimate theatre settings, where subtle shifts in power and emotion drive the performance.
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Themes, Symbols & Motifs
Themes
Power and Control
At the core of the play
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