Venus In Fur

Grade: B-



By David Ives, Directed by Walter Bobbie. At Classic Stage Through February 21st.

David Ives goes all meta (not to mention Miike) in his adaptaiton "the infamous erotic novel of the same name", setting the S&M tale of the Battle of the Sexes in an audition room where an adapter/director is slowly (and comically) undone by a seemingly-ditzy actress. The reviews are all over the map, ranging from A to D-! General points of consensus: Even those that like the play agree that Ives doesn't quite pull of its ending, even those who dislike the play praise newcomer Nina Ariadna's performance, who gets the kind of notices that actors sacrifice goats for. After that, everything's in dispute.

New Jersey News Room A
(Michael Sommers) You want funny? You want sexy? Then you'll want to see "Venus in Fur." Grab your seats now. Classic Stage Company, where "Venus in Fur" premiered Tuesday, accommodates less than 200 viewers and this bewitching show promises to be one extremely hot ticket.

Just Shows To Go You A
(Patrick Lee) Arianda’s rich, many-layered performance is the kind of debut that makes your jaw drop. You watch her, marveling at her navigation of the role’s changing moods and deepening colors, and think of dozens upon dozens of roles you want to see her play, everything from The Owl And The Pussycat to The Sea Gull. She’s nothing short of astonishing.

New York Times A-
(Charles Isherwood) The gamesmanship gets a little repetitive and confusing as Mr. Ives struggles to keep the suspense building and the mystery of Vanda’s identity — and Thomas’s psychology — elusive. But if Mr. Ives never quite settles on a satisfying solution to the mystery he presents, the play is still nifty, skillfully wrought entertainment, an enjoyable game of kitten-with-a-whip and mouse.

Time Out NY A-
(David Cote)Venus in Fur does lose some of its drive and focus toward the end, but this Classic Stage Company production has manifold strengths: Walter Bobbie’s breezy direction, John Lee Beatty’s chic set and Ives’s witty, nimble dialogue…not to mention the remarkable Arianda. More audiences should have the pleasure of being dominated by a major talent like hers

Associated Press B+
(Jennifer Farrar) David Ives' humorous off-Broadway play, "Venus in Fur," is inspired by Leopold von Sacher-Masoch's erotic 1870 novel. Ives has crafted a modern take on a classic tale, skillfully twisting his plot and characters in a fast-paced journey into one man's entrapment by a clever, vengeful female. With taut direction by Walter Bobbie, Ives plays off the novel's eroticism to portray power shifts between an unsuspecting playwright/director and a young actress ostensibly auditioning for his new play, which is also based on the novel.

NYPost B-
(Elisabeth Vincentelli) David Ives' new "Venus in Fur" stands out in several ways, and one of them is that it's packed with layers and ideas. So packed, in fact, that by the end it's bursting at the seams. It's exciting, but a challenge: Only masterful actors at the top of their game could keep it all together -- and the ones here struggle to keep up...A more experienced cast may have helped, but Arianda and Bentley aren't ready to handle the hairpin turns their multifaceted characters must negotiate. Her entrance is a triumph of comic timing, for instance, but she's unconvincing as a steely seductress, while he strains to suggest Thomas' sexual epiphany. Alas, they still have a few kinks to work out.

Joe Dziemianowicz D+ if, like me, you've never seen Arianda onstage before...She recalls Tracey Ullman at her most audacious and Barbra Streisand in her "Owl and the Pussycat" days. As she blows through Vanda's various moods — seductive, sweet, scary, among them — she's irresistible. But that's still not enough to recommend the play. The better-known Bentley ("American Beauty") gives such a flat performance that he's no help. But the bigger issue is that Ives' play, though filled with zingers, gets repetitive midway and leads to a lame conclusion.

That Sounds Cool D+
(Aaron Riccio) Relationships don't need to be between equals--they rarely are, and this play knows it--but they require real passion, and too much of Ives's script comes across as artificial, using a classic novel to take swings at modern conventions, and a modern frame to talk about classic psychology. The result is analytic when it should be emotional, and glib when it should be serious, and Venus in Fur is constantly undercutting its struggle by refusing to actually have stakes that are grounded in reality.

Variety D
(Marilyn Stasio) David Ives ("New Jerusalem") and his collaborator, helmer Walter Bobbie, take all the fun out of sexual power games in "Venus in Fur" by talking the subject to death. Nice idea, adapting Leopold Sacher-Masoch's erotic 1870 novel to a contempo Off Broadway theater audition -- notoriously fertile ground for the sado-masochistic dynamic between director and actor. The wit breaks down, though, once Ives starts piling on plot contrivances to support the thematic parallels. Even more of a misfire, scribe allows his protagonist to dilate at insufferable length on his own cleverness. The boot and the whip are too good for this bore.

NY Theatre D-
(David Gordon) The thing about Venus in Fur—David Ives's present-set "adaptation" of Leopold Sacher-Masoch's erotic novel of the same title from 1870—is that if the last 45 minutes weren't as mind-boggling as they are, it would be a fascinating, entirely worthwhile piece of theatre. But as it stands, this production at the Classic Stage Company under the direction of Walter Bobbie is only truly worth it for one thing: the performance of a newcomer named Nina Arianda.

NJNR A 13; JS2 A 13; TONY A- 12; NYT A- 12; AP B+ 11; NYP B- 9; NYDN D+ 5; TSC D+ 5; V D 4; NYTH D- 3; Total = 87/10 = 8.7 (B-)

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The Savannah Disputation

GRADE: B

By Evan Smith. Directed by Walter Bobbie. At Playwrights Horizons. (CLOSED)

It's not often that a play gets regularly compared to a sitcom while remaining well-regarded by reviewers, but Evan Smith's comedic religious debate The Savannah Disputation somehow manages to do it. This is one of those weird cases where reviewers who disliked the play (Patrick Lee and Marilyn Stasio) and those who enjoyed it agree on what the play is but disagree in their responses to it. Everyone loves the performances, particularly stage legend Dana Ivey. The big outlier is Linda Winer's dismissive take in Newsday. Off-Off Online says "For Christians of any denomination, The Savannah Disputation serves as a smart parable about the necessity of examining one’s faith," leaving this unbelieving writer to wonder "what does the play have to offer the 22% of Americans who aren't Christian?"

NYTheatre A
(Martin Denton) Delightful, smart ... Ivey's performance borders on tour-de-force, which should not surprise her fans one bit. Burke actually anchors the piece, adding depth to her trademark ditz characterization; we really do understand that Margaret has been put in peril by Melissa's un-asked-for intrusion into her spiritual life. Birney is terrific as Father Murphy, in a very human and richly layered performance. Overbey more than holds her own as the troubled yet unwaveringly dogged Melissa. Walter Bobbie is at the helm, and he's given his actors full reign to make the most of Smith's creations. Likewise, he's brought together a design team that delivers what feels like a near-perfect world for this play.

Lighting and Sound America A
(David Barbour) Evan Smith is an unusually crafty playwright: In a miraculous act of transformation, he blends learned theological discussions with a priceless supply of zingers, spinning out a religious farce that says plenty about the cultural dislocations of this so-called Christian nation of ours.


NY Daily News A-
(Joe Dziemianowicz) The new comedy at Playwrights Horizons did something all too rare nowadays; it made me laugh my head off and think at the same time... If the play stumbles, it’s because the author hasn’t come up with a satisfying conclusion. But this production is constant-ly entertaining as staged by Walter Bobbie (“Chicago”), who has assembled a sterling cast. Birney shows the pastor as a man of quiet reason and, when ambushed, fiery anger. Overbey’s carefully gauged work makes her character human and persuasive, not hateful and stupid — even if Melissa calls yoga “satanic.” Burke brings touching vulnerability to the meek Margaret. And as the wholly meanspirited Mary, Ivey’s wrysoaked performance is divinely inspired.

Backstage A-
(Gwen Orel) Curmudgeons are entertaining. Curmudgeons who are elderly Southern women rant as smoothly as cold sweet tea. And when they rant about religion, they are funny as all get-out. Dana Ivey, playing Southern curmudgeon Mary in The Savannah Disputation, Evan Smith's pitch-perfect new play at Playwrights Horizons, is the answer to an atheist's prayers.

American Theater Web A-
(Andy Propst) Thoughtful and frequently hilarious ... It's a merry ninety minutes that's terrifically orchestrated by director Walter Bobbie. Smith's zingers – which can make the show sometimes sound like a sitcom – fly from the performers with pitch-perfect timing. Concurrently, as the play ebbs and flows from comedy to theological debate and human drama, it proves both thought-provoking and moving[.]

Off-Off Online B+
(Edward Karam) Does all this sound heavy and depressing? It isn’t. Smith has invested it with plenty of comedy, and director Walter Bobbie has cast two supremely accomplished actresses to play the sisters

NY Post B+
(Elisabeth Vincentelli) Considering The Savannah Disputation deals with religion in a Southern setting, director Walter Bobbie ("Chicago") successfully avoids cheap effects - no pronounced accents played for superior Yankee smirks here. But, as with all comedies, everything hinges on the cast. Fortunately, this quartet is positively heavenly. Birney, probably relieved at being in a light-minded production after the harrowing "Bug" and "Blasted," is a straight man with a spine, and Overbey manages to make her spiritual salesgirl a lot less ditzy - and obnoxious - than she could have been.

Hartford Courant B
(Malcolm Johnson) The Savannah Disputation takes its religious stands seriously, but it is often humorous. It takes a familiar subject — the efforts of Pentecostal to win converts — and puts a comic spin on the encounters. The production draws its strengths from the quartet of performances. But the engine driving the play is Ivey, who long ago excelled at Playwrights Horizons as an older Georgian in "Driving Miss Daisy." But it's Ivey and Burke who run off with the show.

Time Out NY B
(Helen Shaw) Smith blends two great traditions: the snappish Southern woman giving everybody what for and a faith-versus-faith showdown with dueling quotations from the good book. Since the former is Ivey and the latter is delivered in part by the great Reed Birney, playing a priest Mary sics on Melissa, the play delivers a great deal of pleasure. But though director Walter Bobbie keeps dialogue like, “Are you saved?” “I guess I’ll find out!” whizzing along, the piece still sags. Issues of doubt, celibacy and mortality whirl about the talented foursome, and yet we frequently feel the playwright trying to keep them talking.

AP B
Nobody plays ''cranky'' better than Dana Ivey. And Marylouise Burke can turn ''dither'' into an art form. Together, these actresses offer compelling arguments for your attendance at The Savannah Disputation, Evan Smith's mild comedy about the theological clash between two Catholic ladies of a certain age and an eager young evangelical on the proselytizing trail.

NYTimes B
(Charles Isherwood) A lot of The Savannah Disputation, which is directed with plenty of fizz by Walter Bobbie, consists of comparative-religion-class debates over the word of the Bible and the tenets of the Catholic faith, set to the rat-a-tat rhythm of a sitcom laugh track. It sometimes feels like a Very Special Theological Episode of “The Golden Girls,” with the adorably daffy Ms. Burke cast in the Betty White role, and Ms. Ivey as a stand-in for Bea Arthur. Fortunately, Ms. Burke and Ms. Ivey are actresses of integrity and ingenuity, infusing these sometimes cartoonish characters with doubt and conflicted feeling. Ms. Burke is hilarious in her embarrassment when Mary goes on the attack; she flees the room with the alacrity of a frightened hare.

CurtainUp B
(Elyse Sommer) As Smith takes no sides it's never too clear just what his intentions are, other than to see if he could write a quiet tragi-comedy that derives its action, poignancy and laughs from a parlor pow wow about issues of faith. It's a yes he can, and, given the variety of Smith's work overall, I look forward to what he comes up with next.

TalkinBroadway B-
(Matthew Murray) It’s as if Smith has no end of things he wants to say about these very divisive topics, but is afraid to go full-bore for fear of overshooting or alienating his audience. But the common-sense construction and thoughtful arguing of The Savannah Disputation seem strong enough to withstand any direct blows of acrimony. Like most of its characters, it knows what it is and what it wants to say, but is still searching for the most appropriate voice to translate its often heavenly words into the most easily assimilable form down here on Earth.

Variety C
(Marilyn Stasio) [The play] feels like a young relative's valentine to beloved elderly aunts. But the scribe underestimates the intelligence of the old girls, winningly played by Dana Ivey and Marylouise Burke in Walter Bobbie's sleek production for Playwrights Horizons. While Smith doesn't shy away from touchy religious topics, he cuts off the soul-searching just when it begins to get challenging, delivering believe-it-or-else marching orders and covering up his retreat with vapid character backstories.

TheaterMania C-
(Patrick Lee) The characters In Evan Smith's The Savannah Disputation, now at Playwrights Horizons, eventually challenge each other's deeply held faiths, but the results aren't more than sitcom-deep... While the play's set-up may breeze by under Walter Bobbie's direction, it slows to a crawl once the sisters invite both their parish priest Father Murphy (Reed Birney) and the missionary to dinner and a faith-based showdown gets underway.

Newsday F+
(Linda Winer) The cast is the only reason to see The Savannah Disputation, Evan Smith's tedious liturgical-lesson comedy about religious bickering among biddies and true-believers in a Louisiana town.

NYTH A 13; LSA A 13; NYDN A- 12; ATW A- 12; OOO B+ 11; NYP B+ 11; HC B 10; AP B 10; NYT B 10; CU B 10; TONY B 10; TB B- 9; V C 7; TM C- 6; ND F+ 2. TOTAL = 146 / 15 = 9.73 (B)

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Irving Berlin's White Christmas

GRADE: C/C+

Adapted from the movie by David Ives and Paul Blake. Dir. Walter Bobbie. Marquis Theatre. (CLOSED)

This adaptation of the 1954 Bing Crosby musical film has been bus-and-trucking around the country for eight years, and its arrival on Broadway has not received a chorus of hallelujahs. A fair number of critics are reasonably charmed, particularly by the catalogue of Berlin standards and big production numbers, but the tone of most reviews ranges from ho-hum to humbug.

New Yorker A
Walter Bobbie has done a fine job staging this adaptation of the 1954 movie, which bequeathed us such songs as “Sisters” and “Count Your Blessings Instead of Sheep.” A pair of vaudeville performers (Stephen Bogardus and Jeffry Denman, standing in for Bing Crosby and Danny Kaye) join a pair of dames (Kerry O’Malley and Meredith Patterson) and put on a big show in a cozy Vermont inn. The sets, the costumes, the dreaded Christmas cheer—it’s all done with class, commitment, and just the tiniest degree of self-awareness; your saccharine meter may not go off once. The cast is better than it needs to be, and the snow, when it comes, is like manna from the god of schmaltz.

Theatermania A-
(David Finkle) One could mark down Irving Berlin's White Christmas, the pleasant diversion now arriving at the Marriott Marquis after years on the road in various productions, as the town's latest jukebox musical...The play—facilitated with comforting ease by director Walter Bobbie—isn't the thing here. Berlin's genius is; and anyone who wants to maintain that the title number is the best popular song ever written will prompt no argument from me. The many gold-plated ditties get the absolute right bold and brash treatment from choreographer Randy Skinner, the current go-to guy for tap routines...While no weatherman can truly promise a white Christmas, this show does deliver its promise of a merry and bright one to audiences.

AM New York A-
(Matt Windman) As far as holiday entertainment goes, Irving Berlin’s White Christmas easily wins our vote for the most professional and crowd-pleasing show in an overstuffed genre...Stylishly directed by Walter Bobbie...The show’s other main asset is the fabulous tap-dance and ballroom choreography of Randy Skinner, paying homage to the movie musicals of Fred Astaire and Ginger Rogers, Busby Berkeley and Gene Kelly. Stephen Bogardus, playing the lead role of Bob Wallace, displays matinee idol looks and genuine charm. Also excellent are Kerry O’Malley, Jeffry Denman and Meredith Patterson.

The Daily News B+
(Joe Dziemianowicz) As Broadway musicals go, it's a little creaky. But as a holiday entertainment, it's light and bright and boasts some great production numbers..."Blue Skies," whose optimism is just what we need these days, and "I Love a Piano" are two more bouncy additions from the Berlin songbook. They help drive the story along, and Randy Skinner's tap-happy dances turn them into exuberant highlights. Everything comes together on "I've Got My Love to Keep Me Warm," as what's on stage calls to mind a Currier and Ives holiday card come to life — snow included.

Wall St. Journal B+
(Terry Teachout) I don't want to claim more for Irving Berlin's White Christmas than it deserves. Except for the score, it's nothing more than an expensive applause machine, and if it touches you, then you're a soft touch. Nevertheless, I don't see how anyone who loves Broadway musicals can fail to be pleased by so polished and ingenious a show. Synthetic jukebox musicals are hardly my thing, but this is the smartest one to hit Broadway since "Crazy for You." Take it for what it is and you'll go home happy.

Talkin' Broadway B+
(Matthew Murray) Short of world peace, it’s hard to imagine a more bountiful fulfillment of your grandest yuletide wishes than Irving Berlin’s White Christmas, which just opened at the Marquis: a tuneful, two-and-a-half-hour vacation to 1954...It may be black-ice slick, but it judiciously compensates for much of what it so severely lacks with suitably old-fashioned components that only the grinchiest scrooge will be able to resist. The treasure trove of timeless Berlin tunes helps immeasurably.

Bloomberg News B
(John Simon) It cannot quite make up its mind whether to cheekily parody the mildly idiotic movie, or sweetly swoon over its antique innocence...You might think that great songs can salvage anything, but many of the songs here are lesser Berlin. Still, there are those marvelously evocative Louizos sets and dazzlingly outrageous Robbins costumes for us to feast on. And Skinner’s clever dances, which, with far more limited personnel, still manage to lustily evoke the grandeur of Busby Berkeley and glory of Hermes Pan. Walter Bobbie’s staging, like Ken Billington’s lighting, also suits the material.

American Theatre Web C+
(Andy Propst) Despite Berlin's always glorious songs, some first-rate orchestrations from Larry Blank and beyond terrific dance arrangements from Bruce Pomahac, and several incredibly appealing performances, White Christmas has the decided feel of a snowfall that's been on the ground for a day or two...It's charming old-fashioned stuff, but in this lumbering production, directed by Walter Bobbie, it feels sort of slushy...Despite the sluggish staging, audiences find themselves transported...from time to time.

Newsday C+
(Linda Winer) White Christmas is a reasonable facsimile of what it's meant to be—a manipulation of the sentimental holiday marketplace that does not disturb the seasonal equilibrium with a bubble of original thought...Randy Skinner's choreography combines exuberant ballroom dance and his tap from the revival of 42nd Street. Ever-changing sets by Anna Louizos neatly take us from an Army camp to a train and a barn theater. But the orchestra sounds tinny and the production cries out for a smaller theater or a bigger chorus. Ask Santa for that next year.

Backstage C+
(David Sheward) What saved all those lightweight movie musicals were the charismatic personalities of the stars and the dazzling production numbers. It would be unfair to compare these leads to their stellar predecessors, but three of the four fail to establish a vibrant personality...Only Kerry O'Malley fully commits to her role...She takes the flimsy threads of the story and weaves a complete through-line.

The New York Times C
(Charles Isherwood) You’d have to be in a desperately, even pathologically nostalgic mood—trawling the Internet in the wee hours for VHS copies of Lawrence Welk holiday specials, say—to derive much joy from the stage retread of White Christmas, a synthetically cozy trip down memory lane...
Certainly the Berlin songs are sweet to hear, in nicely varied arrangements by Larry Blank. Mr. Skinner’s choreography does not dazzle with originality, but a stage-filling approximation of period style is all that’s required.

Variety C
(David Rooney) This somewhat mechanical show feels like a road production staffed with mostly second-tier talent. More seasonal confection than full-bodied musical theater, it coasts along on the strength of its melodious numbers and sparkling visuals, which should suffice to keep the tourist trade happy...This kind of frothy, populous presentation may floor them in the hinterlands, but New York theatergoers can see more accomplished ensembles in five-night Encores! runs.

Associated Press C
(Michael Kuchwara) The festivities are muted and mild in Irving Berlin's White Christmas, a lavish, yet surprisingly bland stage adaptation of the popular 1954 movie...Much of the blame can be placed on the perfunctory book by David Ives and Paul Blake. Their effort is pretty much joke- and drama-free...Berlin's tunes are joyous creations, but the musical pleasures here exist in isolated moments, not as part of a dizzy, satisfying theatrical whole. You can tell the show has been cobbled together by committee and not exactly from the heart.

The Record C
(Robert Feldberg) It's puzzlingly faithful to the tedious film plot, and, for good measure, has the lamest jokes heard in a long, long time. If you can tolerate the talking part, the show...has a number of pleasant musical numbers built around Irving Berlin songs...White Christmas does its job. But no more than that.

USA Today C-
(Elysa Gardner) It ought to have an audience advisory—for diabetics. In fact, anyone susceptible to sugar shock should think twice before digging into this bowl of holiday treacle...What this stage version does not have, obviously, is the cast that made the original White Christmas an enduring favorite. It's unfair to compare any singing actor to Bing Crosby, but in this case, it's impossible not to. Stephen Bogardus brings undeniable grace and charm to the role of Bob Wallace, but he can't overcome the thinness of the libretto and the slickness of Walter Bobbie's direction.

NY Observer C-
(John Heilpern) So primly, blandly sincere that it’s like watching The Lawrence Welk Show...With a score that includes Berlin’s “Let Yourself Go,” “Let Me Sing and I’m Happy,” “I Love a Piano”—not to mention “White Christmas,” with its undertow of melancholy—this musical ought to be just like the ones we used to know...Unfortunately, the show lacks authentic vitality—call it the pizzazz and star quality and magic that, well, Irving Berlin had in spades.

New York Post D+
(Frank Scheck) I'm a sucker for Christmas...So it's more than a little disappointing that the Broadway production of Irving Berlin's White Christmas is so lacking in genuine Yuletide spirit. Looking to this would-be seasonal perennial for holiday cheer is like trying to get warm while watching the "Yule Log" on TV...The main strength of director Walter Bobbie's fast-paced staging is the terrific musical numbers featuring Randy Skinner's rousing tap-heavy choreography..

Village Voice D+
(Michael Feingold) Any charm that lay in the original screenplay has been carefully bleached out, leaving an incoherent story so dully told that its only arresting moment occurs when you spot the name "David Ives" among the writer credits, making you wonder if the author of All in the Timing has been kidnapped by space aliens...Why does each of choreographer Randy Skinner's tap numbers look just like all the others?...Who, in a musical theater full of delightful performers, cast the drab second-rankers who play the supporting roles? Why do the characters dress for Fifth Avenue, or a Hawaiian vacation, when they're rehearsing in a barn in Vermont? Why does each new set look more like a discount-store Christmas card?...The only artist who comes off without reproach is the dead one whose name has been nailed to the title.

Theatre News Online D
(Sandy MacDonald) Pop the shiny bubble that is Irving Berlin's White Christmas, and what remains is mostly stale air...The book, adapted by David Ives and Paul Blake from the original screenplay, is tissue-thin, as are the characterizations...Not to be unkind, but you'd have to be over eighty (part of the Lawrence Welk generation) or under eight to find much fascination here.

Time Out NY D
(David Cote) In place of real human emotion there are ersatz, robotic gestures; rather than peace and goodwill there’s a callow, promilitary stance; in place of charity and modesty, there’s gaudiness and greed...A sub-Vegas attraction that has you pining for the Grinch...Even the fake snow is fake in a gross way: During the finale, some tech fiends dust the audience with wintry powder. Upon inspection, the snowflakes appear to be some chemical confection akin to chilled shampoo. Ick. It melts, but your heart won’t.

The Journal News F+
(Jacques Le Sourd) By all means, buy the movie for your collection. Or rent it...Do not spend hundreds of dollars seeing this cheap and cheesy "live" version of the movie! This production, directed by Walter Bobbie, is built to travel...This production could travel in a sport utility vehicle. And it isn't weighted down with any stars you could recognize, with the possible exception of Stephen Bogardus...Everybody else onstage is, sorry to say it, a nobody...The sets (by Anna Louizos) and costumes (by Carrie Robbins) suggest the tatty Lawrence Welk Show more than the lush film.

Curtain Up F+
(Simon Saltzman) Listless and grievously miscast...It has the look of a road-show specifically designed (the settings by Anna Louizos are mercifully not nearly as atrocious as are the costumes by Carrie Robbins) and hobbled together to attract unsuspecting families and gullible tourists. How sad is that?

New Yorker A 13; Theatermania A- 12; AM New York A- 12; The Wall St. Journal B+ 11; The Daily News B+ 11; Talkin' Broadway B+ 11; Bloomberg News B 10; American Theatre Web C+ 8; Newsday C+ 8; Backstage C+ 8; The New York Times C 7; Variety C 7; Associated Press C 7; The Record C 7; USA Today C- 6; NY Observer C- 6; New York Post D+ 5; Village Voice D+ 5; Theatre News Online D 4; Time Out NY D 3; The Journal News F+ 2; Curtain Up F+ 2; TOTAL: 165 / 22 = 7.5 (C/C+)

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