Edward Albee’s ‘Who’s Afraid of Virginia Woolf?’

This play was first staged in 1962, but its themes are as relevant today as over 60 years ago.  George and Martha are a middle-aged couple living on the New Carthage University campus where Martha’s father is the President and George is associate History Professor.  After a faculty mixer, organised by the President, Martha invites Nick and Honey, an ambitious young biology Professor and his mousy wife, over for late night/early morning drinks.  As the evening progresses, we see more and more of the difficult relationship between George and Martha who pull the unsuspecting young couple, plied with alcohol, into their strange and vicious games.  There is a huge amount of vitriolic banter, but it is revealed that beneath this there lurks more tragedy and despair for both couples.

The emotional abuse and highly charged relationship between George and Martha is timeless in its anxiety inducing impact on audiences.  With three hours of non-stop narrative and only four actors this play is a huge challenge in terms of maintaining pace, delivery of lines and sustaining action.  The single set was well-designed and props were relevant and appropriate to the apartment of a history professor.  The stage was managed with swift change of props, including the repeated provision of ‘alcohol’ to the characters.   Light and sound were without fault and really added to the atmosphere as did costumes.  Utilising the closeness of the audience in the Cellar Theatre – there were times when the proximity of the action and evident emotions were bordering on uncomfortable, but in the best possible way, as the audience felt engaged with the activity. 

The performances by the cast were incredible.  There was not a single line missed, accents were maintained and the pace was built to a challenging and demanding crescendo at the end of Act 2.  Jenny Taylor took the role of Honey and was delightful in her timidness and naivety until the curtain is pulled back to reveal her tragic and heart wrenching ‘story’.  Taylor delivered the comedic lines and laughs excellently and beautifully captured the worries, anxieties and fear of a young woman under pressure to start a family in the American east in 1960’s.  Joe Geddes as Nick was confident, articulate and really demonstrated great stage ability being the butt of jokes whilst securing the unwanted attentions of the lady of the house.  Geddes held his character throughout coming across as uneasy and unsure, but also keen to make his mark and not be further downtrodden as he is caught in midst of the marital battles of George and Martha.

Hannah Head was a stunning, drunken, vampish wife, Martha, whose struggles are barely hidden beneath her tough exterior and her tempestuous and volatile relationship with George.  Head embodied the physicality of the role with clear drive and passion throughout.  This really was an incredible performance brought to an ugly and vicious end in the play’s conclusion revealing her tragic loss and life of unfulfilled ambitions.

The demanding role of George was taken by Trevor Jones – I am at a loss to describe how he perfectly conveyed the bitterness and frustrations of his character.  With some very demanding narrative, often delivered juxtaposed to other action and dialogue on stage, Jones never failed to use clear diction and hold his character.  His facial expressions and timing were impeccable – this really was a show-stopping performance that had the audience on the edge of their seat and certainly had this audience member captivated.

Gareth Dickinson, Director, should be incredibly proud of how his obvious hard work and creativity came to life.  This play was brilliantly delivered by cast and crew who have not only worked hard, but who are immensely talented.  Sincere congratulations to all involved – you took my breath away.

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