21st Play - Venus by Suzan-Lori Parks
Zainab Jah (Venus) and the cast of the Signature Theatre production in DC (Photo: Joan Marcus)
I realized I had a copy of this one and hadn’t read it, and I chose it thinking it would be a quick read. Sigh, that is a mistake to make with a Suzan-Lori Parks play. It’s really best to read SLOW so you can imagine all that the magic she creates.
Summary: “THE STORY: In 1810, The Venus Hottentot (as she is dubbed)—a young black woman with an enormous posterior—is lured away from her menial job in South Africa to tour the world and make lots of money. Once in England, however, she is sold to a freak show and becomes a star. She shows off her attribute, bringing in crowds and raking in money for the side show owners. Quickly becoming adept at displaying herself and understanding what the people want from her as a freak, she even tries to break out on her own, but can’t quite master that in those social times. Eventually, she is procured by a white doctor who is more than fascinated with her. He falls in love with her and keeps her as his mistress until he is in danger of losing his medical reputation and social standing. Venus, who journeyed to Europe with high hopes, at the end of her short life, was dissected by the man she loved.” From Dramatists Play Service
Laura’s thoughts in brief: I wanted to like this play so badly, but maybe in the end I did read it too fast. It is heart-breaking for the title character whose real name is Saartjie Baartman, and even more so because you know it’s true. Fictionalized, but based on a true story. You see her signing on for what seems like it will be a better life, and … no real surprises, it’s not. Saartjie (characterized as “The Venus”) is consistently disappointed. The play itself is a fantastical ensemble enterprise, as most of the actors play several characters during the play and the bulk of it is set in a circus-like venue. I can imagine lots of fun and interesting things coming from this setting! The play is very presentational in moments, and once the characters are introduced (literally), the play starts with the announcement of “I regret to inform you that thuh Venus Hottentot iz dead.” It’s upsetting from the beginning, as we can see that the “audience” coming to see her was mostly there merely to goggle at her and be titillated. They talk alot about “naked,” “undressed,” “physiqued in such a backward rounded way that she outshapes all others,” and “an ass to write home about.” Although they were excited to see her, they still denigrate her: “thuh filthy slut,” “shameless,” “she likes when people peek and poke.” It’s an upsetting read, and it doesn’t really get better as we see “The Brother” who basically brings her to England sells her to be “The African Dancing Princess” and makes her believe she’ll get rich in two years and can retire back to South Africa. The Chorus of the 8 Human Wonders, where she ends up for a while, is an interesting (if also sad) adventure of “freaks,” and you see that a wonderful amount of creativity could be had in creating that and all the other scenarios. We know from the beginning this poor woman is being taken advantage of, and that never changes, although it feels like there are small moments of agency for her. This includes what feels like a better place for her, with the Baron Docteur, who she loves and is convinced he loves her back. And maybe he does? But ultimately we suspect he’s more interested in her as a specimen. This is a hard play to read, and might be a stunningly beautiful creative play to see, but still a hard watch, considering the dehumanization of this woman, even after her death.
READ MORE! Here’s what others had to say about productions:
https://deadline.com/2017/05/venue-review-suzan-lori-parks-1202093828/
https://www.timeout.com/chicago/theater/next-up-at-steppenwolf-garage-theater-review