The highs and lows of love in Venus/Mars are well realised. Michelle (Charlyne Francis) and Daniel (Adrian Decosta).
Play: Venus/Mars
Theatre: Bush Theatre
Playwright: Patrice Etienne
Review by Joy Francis
Playwright Patrice Etienne, backed by inventive directing by Rikki Henry, has injected a fresh and contemporary spin on romantic relationships with his play Venus/Mars, part of the RADAR new writing season.
Fiesty Michelle (a fantastic Charlyne Francis) is recovering from a bad breakup with ex-boyfriend Tony. Gearing up for a night out raving with the girls, she would like to meet someone new. Elsewhere, Daniel (the talented Adrian Decosta) and his boys are preened, buffed and ready to pull.
At the nightclub Michelle, who is in marketing at Apple, and Daniel (a teacher) meet, dance and connect with enough chemistry to power the national grid. Over 700 days they go through an emotionally charged, anxiety ridden – yet never wholly fulfilled – love affair.
Don’t be fooled by the deceptively simple storyline as the script, direction and performances are both impressive and riveting. One male and one female saxophonist open the play with a sensuous and moody piece, heralding what’s to come. Francis and Decosta play their parts, and those of the other characters (friends, ex-lovers and parents), as well as act out a constant stream of inner dialogue and doubts. All is revealed to us but not to each other.
Francis and Decosta don’t just talk at us; they show and tell with great physicality and energy. When getting ready for the club, Michelle twerks in anticipation of the night ahead. “I want a man to grind tonight,” she says while convincing her chubby friend Sophie that she doesn’t “look fat” in her outfit. Daniel’s vertically challenged friend Toby talks about not wanting to meet any “grenades” (ugly women) at the club. Tall and handsome playboy Zak replies: “Toby, you are the grenade.”
We are given a timeline of the relationship’s progress. Daniel and Michelle speak two days after their first connection until 2am. After nine days they have their first date. Sex is deferred by Michelle until 98 days into the relationship. At the beginning, Daniel keeps forgetting her name. Michelle is worried that Daniel may turn out to be a waster. She loves kissing. He finds it too intimate. As the play goes on we get to know these two complex people more than they get to know each other. You feel their excitement, bruised egos and emotional pain.
Etienne’s script crackles with some great one liners and put downs. He infuses his dialogue with street vernacular, poetic lyricism, cultural references and emotional intelligence. Daniel “hates her Jedi mind tricks” while Michelle “wants all of his attention” but despises herself for it. The script doesn’t shy away from exposing male and female vulnerability and how we often get in our own way of finding, nurturing and keeping love.
Anyone who has watched the Oprah show in the past 20 years will recognise the play’s title as a nod to relationship guru John Gray’s international bestselling book, Men are from Mars, Women are from Venus. The play’s energy and sizzling performances reflect the gritty realness of young love turning sour as chronicled in the 2010 film Blue Valentine, starring Ryan Gosling and Michelle Williams. Yet the humour is reminiscent of a Rob Reiner movie. There is a scene that, without a doubt, blows Meg Ryan’s infamous fake orgasm in When Harry Met Sally out of the water.
Despite only two performers, two saxophonists, simple lighting and a sparse stage, Venus/Mars demands a bigger space and wider audience. Until that happens, don’t miss out.
Venus/Mars is at the Bush Theatre until Tuesday 19 November 2013.