JADAR

★★★★☆

Venus 2.0 is a dance theatre spectacle exploring the chaos and contradictions of the early 20th century. It tells the scandalous true story of a Suffragette-turned-Fascist through a time travelling cabaret. We meet the Mitfords, Mosley, Marinetti and Mary Richardson as the performers take us on an absurd and chilling ride through the evolution of Fascism, entering a world of explosive physicality, razor-sharp wit and an obsession with the future.

Venus 2.0 is developed with Kip Johnson, Kennedy Muntanga, Alessandro Marzotto-Levy, Mayowa Ogunnaike; directed by Roseanna Anderson and Josh Ben-Tovim; created with writer Peter Clements; associate directed by Owen Ridley-DeMonick; and choreographed and performed by Ridley-DeMonick, Daisy West, Joseph Raisi-Varzaneh, Oxana Panchenko, Ben-Tovim, and Roseanna Anderson.

The show opened with Josh Ben-Tovim outlining the key moments of Mary Richardson’s life, joined on stage by West as Mary herself. With a knowing wink to the audience, he acknowledged that while some might think he had just spoiled the story, contemporary dance and narrative don’t always mix that well – a line that drew laughter from the crowd. However, Ben-Tovim continued to narrate the opening of each act, while pre-recorded dialogue interwove throughout, ensuring the story remained easy to follow – so the spoiler was arguably unnecessary.

The narrations, while engaging, sometimes created a sense of disconnect, pulling us out of the story we had been so powerfully drawn into. Since the production is billed as a cabaret, of sorts, I couldn’t help but wonder whether it might have been more effective to reimagine the narrator as an emcee – a figure who could bridge the worlds of performance and audience more seamlessly.

Whilst many people’s political philosophies evolve over time, few could imagine a journey from feminism to fascism. Yet several notable Suffragettes did just that, joining Sir Oswald Mosley’s British Union of Fascists — among them Adela Pankhurst, daughter of Emmeline. The Suffragette movement itself was not entirely progressive; its fight was for the rights of certain women, and Emmeline Pankhurst’s later decision to stand for Parliament as a Tory betrayed her socialist roots. Remarkably, around 40% of the BUF’s membership was female. The show, while never seeking to justify fascism, compellingly examines how Mary – disillusioned with mainstream politics and even the Labour Party – became drawn to fascism for its anarchic, rebellious energy that challenged the establishment.

This is not dissimilar to the world we live in today; as one line reminds us, every generation faces the same struggles (but I guess the scapegoats change). The piece draws explicit parallels to our own time in its final scene, featuring figures such as Elon Musk and Nigel Farage. It’s undeniably on the nose, but also hard-hitting, especially after witnessing the chilling rise of 20th-century fascism unfold before us — a rise that began in ways disturbingly similar to the present day.

The stage — and indeed the entire theatre — are cloaked in black, with Jackie Shemesh’s intimate lighting drawing us into the story, reminding us that this is our story too. Li Yilei’s original score is ambient, enchanting, and haunting. Julian Smith’s costume design is cleverly split in two: some pieces evoke the sleekness of contemporary dance, while others belong to a world of debaucherous excess, fitting of a cabaret. The choreography is sharp, fierce, passionate, and electric, capturing the militaristic movements of both the Suffragettes and 20th-century fascists.

Venus 2.0 is a finely crafted production that not only illuminates a lesser-known historical figure but makes her story powerfully resonant today.

Venus 2.0 runs at HOME (Theatre 1) until October 4 and tours the UK until December 20.

Photo: Paul Blakemore