[NEohioPAL]Berko review: VENUS (CPT)

[Roy Berko]

‘VENUS’ FAILS TO COMPEL AT CPT

Roy Berko

(Member, American Theatre Critics Association, Dance
Critics Association)

--THE TIMES NEWSPAPERS--

Lorain County Times--Westlaker Times--Lakewood News
Times--Olmsted-Fairview Times	

During the second act of Suzan-Lori Parks’ ‘VENUS’ at
Cleveland Public Theatre, I glanced down the row in
which I was sitting.  The man next to me was snoring
and three of the remaining seven people were sleeping,
or at least had their eyes closed.   This does not
bode well for a production.  To be honest, I couldn’t
blame them.

Parks play is loosely based on the story of Saartjie
Baartman, an African woman with an enormous posterior,
who was taken to London in the early 19th century. 
Dubbed The Venus Hottentot, she left her home not as a
slave, but with a desire to make a lot of money. Once
in England she became the star of a freak show.  A
debate began as to whether the exhibition constituted
slavery, and a court heard a case to determine whether
the exhibitioner should be sentenced under the
country’s antislavery laws. 

Based on Baartman’s story, Parks wrote a play which
examines such issues as the objectification of people
and cultures; the fascination with what is heathen,
foreign, different, sensational; and how some people
are influenced more often by appearances than
substance.   There is also the underlying commentary
on how each of us, in our own way, is a freak.

On the surface, these topics should make for great
theatre.  The same concept worked well in the
‘ELEPHANT MAN.’  Unfortunately, this play misses the
mark.  It is pondersome, overly-long and fails to
compel.  This is somewhat surprising as Parks is the
author of some impressive theatrical pieces including
the Obie Award winning ‘IMPERCEPTIBLE MUTABILITIES IN
THE THIRD KINGDOM.’

Parks’ approach to dialogues assumes that the audience
is willing to dig and ponder meanings.  She is noted
for her dense language and use of metaphors.  She
repeats ideas and speeches.  This writing style leads
to a deliberately static plot evolvement, as is
evidenced in ‘VENUS.’   There is little real
interaction between the characters.  Even the scene in
which Saartjie and the Baron Docteur, who has
purchased her as a “trophy” mistress, negotiate their
relationship in bed, there is a lack of true
connection between the characters. 

Sometimes stagnant scripts can get a breath of life
via a director.  Unfortunately, Jyana S. Gregory
doesn’t appear to be that kind of director.  The
production is static.  Nothing sparks.  There is
little attempt made to compel the audience to watch,
to listen, to understand.

The cast tries hard, but with little overall effect. 
Nina Domingue, a twice recognized “Times Tributes
Theatre Award” winner in 2004, is unquestionably one
of the area’s best actresses.  Even she couldn’t save
the production.  She is given little to work with. 
Part of this is script, part is directorial decisions.
 She is thwarted by underplaying the character, not
being allowed to use texturing of speech and action to
make Saartjie live.

Robert J. Williams does a credible job as the Negro
Resurrectionist, our guide to the goings-on.  Again,
he so underplays the role that his meanings are often
lost.  The chorus is often impossible to understand
due to missed timing and not speaking in unison.  
David Loy, as the Baron Docteur, performs on the
surface, not delving into the motivations of the
character. 

The highlight of the show is Sergio Villegas’s
wonderful circus ring set.  The program designs and
poster art of Nikita Hunter are also wonderful. 

CAPSULE JUDGEMENT:  As my sleeping row-mates seemed to
reveal, CPT’s ‘VENUS’ fails to compel attention or
hold much interest.

‘VENUS’ runs through February 26.  For reservations
call 216-631-2727. 



=====
Roy Berko's web page can be found at www.royberko.info.  His theatre and dance reviews appear on NeOHIOpal, an on-line source.   To subscribe to this free service via the World Wide Web, visit http://lists.fredsternfeld.com/mailman/listinfo/neohiopal.


		
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