GRAPPLING WITH ALBEE INTO THE WEE HOURS OF THE MORNING

REVIEW: WHO’S AFRIAD OF VIRGINIA WOOLF?

BY RYAN M. LUEVANO

Now playing at the Geffen Playhouse is Edward Albee’s 1963 Tony Award Winning play, Who’s Afraid of Virginia Woolf? This classic play takes place in the living room on the campus of a small New England college in 1962 in the wee hours of the morning. The three act play features theatre’s most notorious dysfunctional couple Martha and George as they entertain Nick and Honey, a younger couple who become tangled in the tornado of their hosts’ turbulent relationship.

Despite my familiarity with this play, upon experiencing it live in 2022, the thought that immediately comes to mind is: they just don’t write enough plays like this anymore. Written in 1963, the play is timeless. It stands the test of time because the work focuses on the human experience, not an au courant issue—the characters here are not puppets or props. In Woolf? the audience experiences the tumultuous marriage if Martha and George that although is a constant fire of emotional jabs and blows teetering on physical violence, we discover that this is perhaps a “love language” stemming from a place of deep mourning. 

Those who are too familiar, even exhausted with this play, often refer to it as a three hour “screaming match.” And perhaps some past productions choose to overindulge in the histrionics of the battles between George and Martha, but not here. Like a fine audio engineer director Gordon Greenberg has dialed in a fine balance of order, chaos and compassion. Yes, audiences here are still able to revel in the ongoing duels of George and Martha, but they are also reminded they are people and that deep under the surface there is something afoot. Additionally, even with the breathing room that Greenberg allows, the play (with an over three hour run time) moves at a steady pace.

For actors, the roles of Martha and George are a dramatic triathlon to say the least, and at present there is a clear victor. Zachary Quinto, best known for his portrayal as Spock in Star Trek, is captivating as George, so much so that ensemble is often left in the dust trying to catch up. Quinto embodies the bitter, deflated yet resilient history professor with the emotional and dramatic precision of a sniper. His offhand comments and jabs are delivered with an amusing dry sardonic wit, while his lengthy pontifications and asides are focused, and emotionally ripe. There is no doubt that in time Calista Flockhart will find her footing as Martha, for even in the third act the lengthy exchange between her and Quinto was a well-balanced duet evoking Shakespearian euphony. 

Albee doesn’t provide too much beyond supporting functions for the younger couple, Honey, played by Aimee Carrero, and Nick, played by Graham Phillips. Even so, it’s clear that Carrero dug deep to find moments to give to this mousey character some nuance and amusement for the audience to latch onto.

With a play that takes place in a living room it’s easy for audiences and even productions to neglect the set; however, this is not the case here. The set design by Wilson Chin goes beyond purely functional. Upon first glance, the first aspect of the set that catches attention is the grand wall of books that towers over the stage. Functional, but perhaps also representational of the university, knowledge, or the Martha’s “Daddy” (the university president) who looms like an unseen God over the production. Another notable feature is both the narrowing of the set towards upstage with a platform in the upstage area as well. This serves well to focus the physical action while allowing for action to occur on multiple levels. The final, and most subtle aspect of the set is the slanted ceiling that again hints that something is askew in the household.

Anyone looking for a break from contemporary soapbox socio-political plays that tell you what to think, should go to the Geffen to see this classic written by a master, and performed by a cast that will surely grow into this potent work.    

MORE INFORMATION:

Where: Geffen Playhouse, 10886 Le Conte Ave., Los Angeles
When: 7:30 p.m. Tuesdays-Fridays, 1 and 7 p.m. Saturdays and Sundays. In previews; opens April 28. Ends May 22.
Tickets: Start at $30
Info: (310) 208-2028 or geffenplayhouse.org
Running time: 3 hours, 20 minutes (including two 10-minute intermissions)
COVID Protocol: Proof of full vaccination is required. Masks are required at all times.