The fun begins with a crash of thunder, a flash of lightning and the sudden appearance of John Lee Beatty's set for Venus in Fur at the Classic Stage Company. Adapted by David Ives from Leopold von Sacher-Masoch's 1870 Venus in Furs, we are privy to an S and M duet and all that that implies.

A downtown theatre director, Thomas, has just wrapped his auditions for the female lead in his adaptation of Sacher-Masoch's novella. Unhappy with the turnout, he calls his girlfriend to tell her he's rushing home. Enter one last 'unscheduled' appointment, Vanda, soaked from the downpour at the top of the play and doing battle with her umbrella. Told she is all wrong for the part, Vanda convinces Thomas to at least let her read. Magically, this loud, foul-mouthed and brazen bimbette transforms into a demure, eloquent innocent lady replete with English accent, courtly manners, and an appropriate costume she just happens to have in her satchel. The transition covers her initial interpretation of the leather and lace drag she entered in. Surprised, Thomas lets her continue with the material and quickly Vanda convinces him to play opposite her (handing him yet more appropriate costuming from her satchel). We now begin to wonder who is in control - the director or the actress? Thus the play and the-play-within-the-play either mirrors or contradicts each other leading us into a labyrinthine game of role-playing, hurt, danger, fear and passion.

Mr. Ives keeps us well entertained for the first two-thirds of this 100-minute submission competition. He loses his way when he starts to throw in deceptive or fantastical explanations. It also doesn't help when ERA accusations unbalance the momentum. It's almost as if Mr. Ives wants to demonstrate how the physics of a roller-coaster ride works, thereby diminishing the thrill. And frankly, I didn't buy his ending at all.

Walter Bobbie directs with acute panache making one wonder just how familiar is he with what many consider a demi-monde. His step by stiletto-heel step accrues intensity and pulsates surprise even when the script lets him down. Mr. Beatty's realistic set, Anita Yavich's slick attire for the actors and Peter Kaczorowski's ominous lighting (although again I must question his crystal clear window shadows appearing during a rainstorm) all contribute immensely to disorienting as well as titillating us in the this process.

As Thomas, the very handsome Wes Bentley at first appears stiff and uncomfortable but warms up nicely as Vanda's eventual patsy cum victim. He does especially well in the play-within-the-play. It is Nina Arianda, however, who has been given a terrific role and runs with it. Whether it's her lightning speed transitions, her slyly legato seductions, or her incredible finesse with a throwaway laugh line, it's truly their combination and more that announces a 'Wow' performance. Ms. Arianda owns Vanda.

We are all at any given moment of the day in a power position or as a subordinate to someone or something. Just how much we like those roles could very well depend on where we are - at the job, on the street, in the bedroom. Leopold von Sacher-Masoch knew whereof he wrote and Messrs. Ives, Bobbie, and Bentley and Ms. Arianda know how to elicit our identification with these situations with a wink and a whistle.

...end