What: How to Succeed in Business Without Really Trying
Who: put on by Musket
When: March 21 at 8pm, March 22 at 8pm, and March 23 at 2pm
Where: Power Center for Performing Arts
Cost: $7 for students, $13 for adults
How to Succeed in Business Without Really Trying is a musical that tells the story of window washer J. Pierrepont Finch who, after he obtains the eponymous book, starts to rise in the ranks of the World Wide Wicket Company, eventually becoming chairman of the board.
To those in society that exist within the heteronormative ideas of sex, Venus In Fur would be shocking, but to those that live within the world of BDSM, this play would seem tame. But for most people, no matter their standing, they would consider this play to be extremely well handled and entertaining. The performances, stage direction, lighting, and sound all come together to create an astounding artwork.
The first thing that must be complimented is the acting. Both Sebastian Gerstner and Maggie Meyer are commanding and captivating in their respective roles of Thomas and Vanda. Both play through the humorous, serious, and politically charged scenes as if the audience is just peeking into an extraordinary day of what is usually an ordinary life of the two characters. Special commendations must be given to Meyer as she transitions between her three “roles” effortlessly, showing a strong understanding of the play and its characters. It was simply hypnotizing watching her transform from her role of real-life Vanda, into the character Vanda, and finally into her last portrayal, which will not be spoiled here. Very rarely am I amazed, but Meyer’s performance was truly something to be amazed by.
But of course, with such great acting there must be an equally great director behind them. Watching this play, one can clearly see the bright light of Jennifer Graham’s directing shining through. To the audience, directing is usually the last thing that comes across their mind when watching a play that was this entertaining, but watching the two actors play through their parts, it was obvious that their acting only played homage to the director’s brilliance. From the subtle sound cues strewn throughout the piece, to the hidden metaphors and allusion, and to the nearly flawless stage direction, it would be an understatement to say that viewing another play by this director would be a pleasure.
The writing itself is equally quite astounding (as everything in this play is). At first I was concerned at a slight sexism that would run through the production, but the play tackles that issue later on as Vanda sees Thomas’ play as being sexist, thereby directly facing the issue of sexism and exposing it to the audience as an unacceptability. Meta-references like these continue throughout the entire play and it becomes a puzzle to be solved; resulting in a surprising, though perhaps not unseen ending. The only issue I might have with the writing is that it may be too “pedantic” is some aspects. Why “pedantic”? Because this is the term that is used by the play when Vanda playfully insults Thomas, maybe creating another meta-reference where the author understands that his writing may be too “pedantic” for the general audience.
Viewing this play was one of the best decisions that I have made recently and I would recommend it to all who can handle the steamy and sometimes politically charged scenes in this play. It is extremely funny when it needs to be (the entire audience was laughing uproariously at some parts) and poignantly serious when the time came. I truly felt as if I was just a fly sitting on the wall, rather than watching a play, which is a marvelous feat of acting and directing.
What: Venus In Fur; a play written by David Ives
Who: Directed by Jennifer Graham, Staring Sebastian Gerstner and Maggie Meyer
When: from February 27 to April 6
Where: Performance Network Theater
Venus In Fur tells the story of playwright/director Thomas in his search for an actress to play the role of Vanda in his stage adaption of the story Venus In Fur. Though the actress who comes in to audition seems completely wrong for the part, she shows a strong command for the material. The script reading and the real world begin to blur, though, as Vanda (the actress) takes control of the sado-masochistic role and creates a relationship of dominance and submission with the director.
