Date: Fri 29-Mar-1996

Publication: Bee

Author: SHANNO

Illustration: C

Location: A-10

Quick Words:

Theatre-rev-Venus-Yale-Rep

Full Text:

(rev of "Venus" at Yale Rep, 3/29/96)

Theatre Review: `Venus' Is Certainly Entertaining!

(with cut)

By June April

NEW HAVEN - There is no question Suzan-Lori Parks is one of the bright lights

in provocative theatre. The world premiere of Venus at Yale's Repertory

Theatre is not a play for those seeking light entertainment.

Venus is a hard-hitting, true story of a South African native enticed to 19th

Century England with visions of fame and fortune. Exploitation and degradation

was her reality. But it is as much a statement of human nature as of the

Hottentot known as the "Black Venus."

Strong rhythms and repetitive verbal passages are part of the identifiable

nature of Parks' creations. The award-winning playwright and screenwriter has

continued to gain recognition and kudos for her work, with Venus being

co-produced with Joseph Papp Public Theatre/New York Shakespeare Festival.

A small fetish figure from the Paleolithic period, known as the "Venus of

Willendorf," is of a faceless female figure whose hips and breasts are quite

exaggerated. The "other" Venus is of Italian origins; that "goddess of Love

(and vegetables)" is graceful and shapely.

Saartjie Baartman, who was promoted as the "Hottentot Venus," had buttocks

that were greatly pronounced, and it was this anatomical feature that made her

a "freak." Like John Merrick, better known as "The Elephant Man," she lived a

short life (both died around the age of 26).

Both people were aware of their deformities and both had passions beyond their

pain. And although both were victims of heinous acts and exploitation, there

were also people at the end of their lives who were kinder and more

understanding, and members of the medical profession. There are those who

might say these "saviors" were also using Merrick and Baartman for their own

scientific gains, but certainly physical care and concern were part of their

final years.

Directed by Richard Foreman, an extremely talented and energetic part of the

creative visual world, Venus , at Yale Rep only until Saturday, leaves one

stimulated and impacted with many thoughts and considerations.

The set, designed by Mr Foreman, is innovative, with a sense of imprisonment

and anatomy woven throughout. Leonardo DaVinci's circular anatomical drawing

concept was brought into the production and serves as a symbolic as well as

visual component.

The real grotesque quality in Venus' life was the curiosity seekers, coming to

gawk at the circus sideshow "oddities." Their costumes, make-up and mannerisms

recall the satirical artworks of Hogarth or Goya.

The whole cast does a very fine job, with the four leads singularly

outstanding. All members of Actors Equity, Adina Porter as Miss Saarte

Baartman was powerful and sensitive to her character. Her exploitive

"boss/owner" - playing three different roles - Sandra Shipley is forceful and

manipulative.

Fascinating to watch and listen to is Mel Johnson, Jr. His voice has a

hypnotic Shakespearian quality, and his stance and physical appearance are

mesmerizing. Johnson weaves the evening together with commentary. And as

Baartman's (married) lover and provider/medical exploiter, Peter Francis James

is lecherous and lewd and sadly pathetic.

Costumes by Paul Tazewell are ingenious and creative, and an interesting

mixture with the use of masks for the "play within the play." As always, the

program is informative and aesthetically a pleasure to read and look through.

For those seeking a stimulating evening - Venus does bear some trying moments

in the first Act, but moves along with great power and drama in the second

half - this is certainly a play to attend. Theatregoers who seek only light

musicals or minimal effort need not bother: Venus is an investment of thought

and consideration, well worth the money and time.

March 30 is the final production of Venus . Tickets are available at the Yale

Repertory Theatre box office, at 1120 Chapel in New Haven. There are special

performances for the hearing impaired and opportunities for discussion. For

further information or to charge tickets over the phone, call 432-1234.