I went to this not truly knowing what to expect, and hoping I would love it as I have a soft spot for both Natalie Dormer and David Oakes, who are simply incredible. The first lines, and indeed the first few scenes, filled me with a sense of dread though, as I couldn’t stand the American accents. Both Oakes and Dormer are absolutely brilliant as Vanda Jordan and Thomas Novachek, Dormer bringing real grit and edginess to Jordan with her Bronx drawl, but the accents felt so unnatural and forced that I found it slightly painful. When the reading starts, however, Dormer falls into her wonderfully melodious and expressive natural voice, and you realise that this is going to be something quite special.
When Dormer’s Jordan asks Oakes’ Novachek whether he’ll do a continental accent for the reading, the audience titter in appreciation, all recognising Oakes as the raffish and charming, very European, very German, Ernest from ‘Victoria’. Oakes then slipping into his Ernest accent, asking if she means like this and whether it sounds silly, is brilliant and thrilled the audience, including me. You wonder if he will maintain it, and the fact that he doesn’t and returns to his natural voice makes that little nod to the character that he has become best known and loved for ingenious. Playing on the audience’s recognition allows them to feel as though they are in on a little joke or secret, which in turn makes them feel closer to the actors they have specifically come to see. A brilliant idea to win the hearts of the audience. And, as the action continues, you realise how clever the use of such contrasting accents is as a stage device. It clearly demarcates the narrative as it seamlessly slips between ‘real life’ and the reading, and is especially effective as the switching between the two increases in pace and frequency. You are left marvelling at the skill of Dormer and Oakes, so fluid and flawless are they.
Although there is a full set and some clever lighting, it is barely used, meaning that this production is essentially stripped down and bare, your entire attention and focus being brought to bear onto Dormer and Oakes. And they give captivating and phenomenal performances as they make you question what is real, what is the reading and what is in Novachek’s head.
The ending feels a little rushed and abrupt, like some steps have been missed out, but that doesn’t detract from the brilliance of the production. It is Dormer who truly shines in this production, which is apt, you make think, for ‘Venus in Fur’. Definitely one to see before its limited run is over.