Who’s Afraid of Virginia Woolf?

Red Stitch have created a cracking theatrical coup with this production of Edward Albee’s most famous play. The attention to detail and the highly refined performances produces a level of excellence that has made this a sell-out show. Albee’s acerbic and astute observation of the way married life perpetuates a patriarchal system that promotes misogyny, materialism, and dog-eat-dog ambition is confronting. The play was written in 1962 and reflects the society of its time and despite the faithfulness of this production, it still resonates for a contemporary audience. This play presents challenges because it is a specific attack on American culture with a specific social and historical setting in mind. However, this production draws on its timeless aspects and delivers the often lavish and rich dialogue with incredible precision and timing. The production provides three hours of very demanding and gripping drama and brings Albee’s penetrative examination of the mechanisms of corrosive and toxic relationships directly to the forefront.

Two couples come together during a night of partying and very heavy drinking and as their inhibitions are loosened every despicable or deplorable aspect of their persona is unleashed. Kat Stewart as Martha undoubtedly steals the show. The quick fire and disarming aggression of her language and the rapid shifts in her tone and register are flawless. Her co-stars also provide stunning performances. David Whiteley as Martha’s husband, George, allows his contempt for others to emerge slowly and stealthily. As the play progresses, he makes George increasingly sinister, and this is especially conveyed through a gradual transformation in the quality and tone of his voice. Emily Goddard as Honey makes some marvellous transitions from ditzy to determined in the blink of an eye and this is often a joy to watch. Harvey Zielinski as Honey’s husband, Nick, is particularly well cast. His very affable appearance allows him to turn his character’s naivety into deceit with the art of a grifter. 

Part of the winning strategy of this production is to stage the play in a small and more intimate environment. This brings the audience in direct confrontation with some of the disturbing behaviour that is flamboyantly paraded in this text. However, the set can appear somewhat cramped, and this sometimes limits the grandeur of the amazing performances. The lighting and music are very subtle and discrete. They keep a laser focus on the four characters and the simmering emotional disquiet that gradually reaches boiling point.

This is a production that excels in many aspects and creates a very visceral opportunity to experience both the depth and complexity of this play. 

Patricia Di Risio 

Photographer: Jodie Hutchinson