Who's Afraid of Virginia Woolf?

Staging Edward Albee’s classic American1961 play ‘Who’s Afraid of Virginia Woolf’ is no mean feat but a challenge that Wick Theatre rose to with great skill and ability as was proved to packed houses at the Southwick Barn Theatre.

Albee’s play, first staged in October 1962, examines the complexities of the marriage of middle-aged couple Martha and George. Late one evening, after a university faculty party where they receive unwitting younger couple ,Nick and Honey as guests for late night drinks, and draw them into their bitter and frustrated relationship. Detailed and highly resonant as the booze flows and the dawn rapidly approaches, these late-night cruelties take on a dangerous and seemingly ritualistic quality.

I must first of all commend the creative team especially director Dan Dryer for gathering together such a stellar cast who handled all the bullet style dialogue and observed the rise and fall of action and ensuing tension perfectly.  With a play that lasts nearly 3 hours the audience were totally gripped from start to finish.

As the primary pair, Dan Dryer and Emily Dennett berated, harangued and railed at each other, but also showed an aching tenderness and compassion towards each other specially creating a touching and sympathetic right at the end of the play as they both wait for the dawn of a new day together and the portents of what this may bring.

Emily Dennett captured Martha’s character’s sexuality perfectly both its kittenish quality, but also its raw, insatiable hunger in a performance that demonstrated her great power and range as she stalked the stage, flied into rage, sulked and flirted with Nick throughout the show. Impressive too was the clever sense of pathos that she was able to create for the character especially towards the end of the play with the audience hanging on her every word.

Dan Dryer took on the multi-layered George with a psychotic reservedness that conveyed the character’s curious mix of wretchedness and intellectual dynamism in perfect balance. This was all the more impressive when remembering that he also directed the piece as well as taking on this weighty role with mastery. 

The secondary couple in the play (Nick and Honey) are necessarily subjugated, foils for the pyrotechnics of Martha and George; but they are both terrific roles, complex and sad.

Rich Jayston bought the slick, colourless swagger of Nick, but also impressively conveyed a sense self-awareness as he challenged George increasingly throughout the play.  His Act 2 and 3 drunken flirtatiousness with Martha was deliciously uncomfortable to watch.  

Esther Dracott as Honey was hilarious and heartbreaking in equal measure; her Honey was silly, outrageous and chaotic, but also watchful and wary regarding her dawning realisation Nick his callousness and cunning.  Her final scenes were touching and sobering as she realises the realities of her needs to have a child and acted with great subtlety and emotion.

Production values were high with each technical department adding to the intimate and dangerous atmosphere of the play.  Lighting was incredibly impressive especially with practical working lights and attention to detail regarding exterior lighting sources to show the passing of the night into the dawn.

My congratulations to the whole team for a most enjoyable and professional evening’s entertainment.

Tony Bright

Assistant Regional Representative NODA South East

 

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