Vanda Jordan/Vanda von Dunayev (20s-40s)

Vanda is an enigma; we are never quite sure who she is. Initially she comes across as a poor fit for the grind of Broadway; she’s clumsy in her introduction, seems genuinely unaware of how to put her best foot forward. Earnestness mixed with brashness means she conveys a willingness to do whatever is necessary to win over Thomas (she removes most of her clothing within the first 5 pages). And yet, Vanda utterly transforms in a way that suggests she knows Thomas’ play better than he does. While Thomas is the in the driver’s seat of the, Vanda’s character is the comedic and impactful engine of Venus in Fur as she transforms over and over, from hapless actress to skilled dominatrix, to the Goddess of femininity Herself.

Thomas Novachek/Severin Kushemski (20s-40s)

Thomas is the archetype for how we imagine most writer/directors: self-assured, narcissistic, impatient, male. It is also unclear whether his high opinion of himself or his play are remotely justified. If it wasn’t so comical, it would provoke outrage. We are introduced to these traits early and often as he complains to his significant other on the phone or attempts to steer Vanda out of the room. However, once his counterpart gets the chance to read, Thomas ends up in an unsettled position. What is it like to finally capture your personal white whale? He finds himself increasingly compromised as he plays his part as Kushemski, and perhaps even welcoming as Vanda strips (pun intended) away all of the power given by his maleness and cultural position.