“Venus in Fur”

A talented blonde actress named Nina Arianda gave a wonderful performance as the naïve, but worldly, Billie Dawn in “Born Yesterday” last season and lead many reviewers to proclaim the oft-cliché, “a star is born.”

Arianda won critics and theatergoers’ hearts with her charm, wit and ditziness. It was the first time many theatergoers saw Arianda perform, although she had performed in the Classic Stage Company production of David Ives’ “Venus in Fur” earlier that year. “Venus in Fur” and Arianda received rave reviews, but the theater is small and the run was limited.

Under the auspices of the Manhattan Theatre Club, “Venus in Fur” has moved to the Samuel J. Friedman Theatre on Broadway. Arianda has a new co-star, Hugh Dancy as Thomas, and once again, she wows the audience.

Arianda plays Vanda, an actress who arrives late for an audition. The playwright/director, Thomas, has had an exasperating day auditioning women for the lead role when Vanda, who strangely bears the same first name as the character, arrives . It’s obvious to Thomas that she lacks the style and elegance he seeks, but through tears and persuasion she manages to get an audition playing. He’s astounded by her transformation, but even more bewildered by her knowledge of the script when the actresses were only given a few pages, as well as her knowledge of the German book from which the play was adapted.

Other inexplicable circumstances occur. Despite the puzzling events, Thomas is so entranced by Vanda.

Arianda goes in out and of character and in and out of accent. She’s regal one moment and from Brooklyn another – sometimes almost mid-sentence. She’s erotic and sensual, but also quirky and the gal next door.

The handsome Hugh Dancy (“Journey’s End,” “The Pride”) has brooding good looks, and, despite Arianda’s scene-stealing ways, capably matches her skill.

The two stars are superb. The problems are with the play itself. It’s very abstruse and provocative as it deals with sadomasochism and the power struggle between a man and a woman. Thomas has adapted his play from a book by a real writer, Leopold von Sacher-Masoch, whose novels are classic tales of submissive males and cruel mistresses. In fact, the term masochism is derived from his name.

Arianda and Dancy give excellent, award-worthy performances. However, for many theatergoers lured by their description of “Venus in Fur” as a sexy comedy will be disappointed, if not turned off, by the substance and tenor of Thomas’ play.

Although the play begins somewhat humorously, it gets much darker. The play within the play feels like a stilted period piece that is too wordy.

The good news is that these two performers are so talented that they will undoubtedly be back in another production very soon. Maybe then the play will be as good as the actors.