There are white churches there, and the crackle of icicles,
The cornflower eyes of my son are blossoming there.
Diamond nights above the ancient town, and yellower
Than lime-blossom honey is the moon’s sickle.
From plains beyond the river dry snow-storms fly in,
And the people, like the angels in the fields, rejoice.
They have tidied the best room, lit in the icon-case
The tiny lamps. On an oak table the Book is lying.
There stern memory, so ungiving now,
Threw open her tower-rooms to me, with a low bow;
But I did not enter, and I slammed the fearful door;
And the town rang with the news of the Child that was born.
– by Анна Ахматова (Anna Akhmatova) (26 December 1921)
– from Anno Domini MCMXXI
translation by D. M. Thomas
In December 1921, during visits to her imprisoned son at Slepnyovo, Akhmatova was tormented, while passing by the ancient town of Bezhetsk nearby, with memories of happier times she shared with Gumilev when she would visit this area.
Who’s Afraid of Virginia Woolf? is a 1962 play by Edward Albee. It examines the breakdown of the marriage of a middle-aged couple, Martha and George. Late one evening, after a university faculty party, they receive an unwitting younger couple, Nick and Honey, as guests, and draw them into their bitter and frustrated relationship.
The play is in three acts, normally taking a little less than three hours to perform, with two 10-minute intermissions. The title is a pun on the song “Who’s Afraid of the Big Bad Wolf?” from Walt Disney’s Three Little Pigs (1933), substituting the name of the celebrated English author Virginia Woolf. Martha and George repeatedly sing this version of the song throughout the play.
Who’s Afraid of Virginia Woolf? won both the 1963 Tony Award for Best Play and the 1962–63 New York Drama Critics’ Circle Award for Best Play. It is frequently revived on the modern stage.
Imelda Staunton and Conleth Hill star in a new production of the play, directed by James MacDonald, at the Harold Pinter Theatre in London currently (early 2017). This is the production I shall be discussing in this post from this point on though I do discuss the play in a broader aspect too while doing this.
Beige: stage floor
Light grey: Raised areas
Dark Grey: The entrance and the stairs leading up to the bedrooms.
Green: Access off stage. The lefthand door goes to the kitchen, the middle is the entrance to the house and living room and the one on the right leads to the toilet.
Purple: Offstage. I guess those sat on the right would have had some limited view but most events occur towards the front of stage.
Orange: The drinks trolley and the record player.
Red: the seating.
Brown: On the left the fireplace, centrally the table and the cabinet on which the piece of art sits.
Yellow: The triangle is the art piece they comment onn in the first act, the circles the bells that get hit at one point and the diamond a free standing light.
Thick black: Walls.
This image is an estimation of how everything was placed on stage. Kirsty Walk, during the brief break between acts 2 and 3 told us about the staging. The couch and lower level is set out like a boxing ring into which the characters enter to confront each other with the fireplace, doorway and reading areas act as the ringside where they take respite from the frisson of events as observers.
Act One: “Fun and Games”
George and Martha engage in dangerous emotional games. George is an associate professor of history and Martha is the daughter of the president of the college. After they return home, Martha reveals she has invited a young married couple, whom she met at the party, for a drink. The guests arrive – Nick, a biology professor (who Martha thinks teaches maths), and his wife, Honey. As the four drink, Martha and George engage in scathing verbal abuse of each other in front of Nick and Honey. The younger couple is first embarrassed and later enmeshed. They stay.
Martha taunts George aggressively, and he retaliates with his usual passive aggression. Martha tells an embarrassing story about how she humiliated him with a sucker-punch in front of her father. During the telling, George appears with a gun and fires at Martha, but an umbrella pops out. After this scare, Martha’s taunts continue, and George reacts violently by breaking a bottle. Nick and Honey become increasingly unsettled and, at the end of the act, Honey runs to the bathroom to vomit, because she had too much to drink.
Act Two: “Walpurgisnacht”
Traditionally, “Walpurgisnacht” is the name of an annual witches’ meeting (satiric in the context of the play). Nick and George are sitting outside. As they talk about their wives, Nick says that his wife had a “hysterical pregnancy”. George tells Nick about a time that he went to a gin-mill with some boarding school classmates, one of whom had accidentally killed his mother by shooting her. This friend was laughed at for ordering “bergin”. The following summer, the friend accidentally killed his father while driving, was committed to an asylum, and never spoke again. George and Nick discuss the possibility of having children and eventually argue and insult each other. After they rejoin the women in the house, Martha and Nick dance suggestively. Martha also reveals the truth about George’s creative writing escapades: he had tried to publish a novel about a boy who accidentally killed both of his parents (with the implication that the deaths were actually murder), but Martha’s father would not let it be published. George responds by attacking Martha, but Nick separates them.
George suggests a new game called “Get the Guests”. George insults and mocks Honey with an extemporaneous tale of “the Mousie” who “tooted brandy immodestly and spent half her time in the up-chuck”. Honey realizes that the story is about her and her “hysterical pregnancy”. The implication is that she trapped Nick into marrying her because of a false pregnancy. She feels sick and runs to the bathroom again.
At the end of this scene, Martha starts to act seductively towards Nick in George’s presence. George pretends to react calmly, reading a book. As Martha and Nick walk upstairs, George throws his book against the door. In all productions until 2005, Honey returns, wondering who rang the doorbell (Martha and Nick had knocked into some bells). George comes up with a plan to tell Martha that their son has died, and the act ends with George eagerly preparing to tell her. In what is labelled the “Definitive Edition” of the script, however, the second act ends before Honey arrives.
Act Three: “The Exorcism”
Martha appears alone in the living room, shouting at the others to come out from hiding. Nick joins her. The doorbell rings: it is George, with a bunch of snapdragons in his hand, calling out, “Flores para los muertos” (flowers for the dead), a reference to the play and movie A Streetcar Named Desire, also about a marriage and outside influences. Martha and George argue about whether the moon is up or down: George insists it is up, while Martha says she saw no moon from the bedroom. This leads to a discussion in which Martha and George insult Nick in tandem, an argument revealing that Nick was too drunk to have sex with Martha upstairs.
George asks Nick to bring Honey back for the final game – “Bringing Up Baby”. George and Martha have a son, about whom George has repeatedly told Martha to keep quiet. George talks about Martha’s overbearing attitude toward their son. He then prompts her for her “recitation”, in which they describe, in a bizarre duet, their son’s upbringing. Martha describes their son’s beauty and talents and then accuses George of ruining his life. As this segment progresses, George recites sections of the Libera me (part of the Requiem Mass, the Latin mass for the dead).
At the end of the play, George informs Martha that a messenger from Western Union arrived at the door earlier with a telegram saying their son was “killed late in the afternoon…on a country road, with his learner’s permit in his pocket” and that he “swerved, to avoid a porcupine”. The description matches that of the boy in the gin-mill story told earlier. Martha screams, “You can’t do that!” and collapses.
It becomes clear to the guests that George and Martha’s son is a mutually agreed-upon fiction. The fictional son is a final “game” the two have been playing since discovering early in their marriage that they are infertile. George has decided to “kill” him because Martha broke the game’s single rule: never mention their son to others. Overcome with horror and pity, Nick and Honey leave. Martha suggests they could invent a new imaginary child, but George forbids the idea, saying it was time for the game to end. The play ends with George singing, “Who’s afraid of Virginia Woolf?” to Martha, whereupon she replies, “I am, George…I am.”
When people debate the greatest plays ever written this one is regularly in top 10s and rightly so, when acted well it is one of the most devastating evenings of theatre you can encounter.
However the live broadcast of the current production I saw of it was not…
In a sentence I found that subtlety was thrown out for overt caricature which led the dark dry humour of the play to be performed as if it was an American sitcom.
There are only four roles in the play.
Martha – (Imelda Staunton) A screeching loud New Englander
the daughter of the president of the college
George – (Conleth Hill) an associate professor of history
A put upon ‘family man’ with a whiny nasal tonality
Nick – (Luke Treadaway) A stereotypical all American corn fed jock
a biology professor (who Martha thinks teaches maths)
Honey – (Imogen Poots) A squeaky voiced, ditzy, North West all American girl
Nick’s childhood sweetheart and wife
I think what set it off on the wrong foot was the preceding short documentary we were presented with about the play’s history with talking head after talking head telling us of how Albee has humorous dialogue. This led to certain members of the audience laughing at every few lines as if a laugh track was playing in their head telling them when, where and to what degree to laugh.
Do you ever feel like you’re the young child in the children’s story ‘The Emperor’s New Clothes’? That is how I feel about this particular production. It has received glowing reviews but the bitterness of the characters and their predicament is lost in people doing the broadest impressions of Americans they can manage. For the time period and location the play is set it’s not inaccurate but I kept getting the feeling more effort was put into that side of the production than working on the nuances of each exchange between the characters. Maybe I just feel Imelda Staunton is too old to play the role. Yes controversial. How dare I say such a thing of a living legend. But it reminds me of when, in opera, you have people with visible grey hair performing the role of teenagers because they’re the ones with the ability to do so. The performance is good but when you have a very short woman in her 60s. Playing a woman in her 50s, pawing at a tall 32 year old (playing a 28 year old) it comes across as false he would have, at least in this production, an all but implied sexual liaison while his wife lies drunk in the toilet.
The whole production is oddly paced and plays out in the style of a 1960s sitcom in tone. I think what suits it better is to play it far more straight, to allow the black humour of the passive aggression play out without flourishes. Perhaps what I instinctively felt was there was no energy between the performers. Of course it’s about dysfunctional relationships but even that has an energy to it which I found lacking here and instead replaced with energy you expect of a comedy which doesn’t fit the tone I was expecting.
Imelda Staunton all but yells her lines. Each. And. Every. Time. This is a great acting by a living theatre legend? Her performance is praised but there is no nuance. Either she’s shouting, thrusting herself at Nick or rattling off stories intending to shame her husband… until the final scene which is performed well but is too little too late. Nuance be damned. It’s far too over the top. I saw her, in person, performing the role of Gypsy Rose Lee’s mother Rose in the 2015 production of Gypsy and can’t help but feel she has brought over some of that behaviour when reprising the American accent which was a mistake. She is a good actor but something in the direction has led her and the others astray. Less shouting and I probably would have enjoyed it more. There’s a way to be loud without coming across as if every line should be shouted and she is more than skilled enough to do so.
Conleth Hill… I don’t know what to say. He plays the role of a put upon family man from a 1950s American sitcom. Burton played the role as a mild mannered yet passively aggressive man of letters while Hill plays the role as… Varys from Game of Thrones (who he plays) so I am a bit concerned he lacks range as I’ve not had the chance to see him in other productions. If you know Nathan Lane and how he performs comedy roles just imagine him in the role and you’re more or less where I was watching this. What are meant to be bitter barbs of a frustrated man come across like catty comments more fitting of a stereotyped gay character. Maybe that’s something they were implying in this production though I feel I’m giving them more credit that they deserve.
Luke Treadaway plays his role overly safe if not quite bland. Imagine a jock from a comedy film or all American young hero from a war film. There you go you know how he came across both aurally and physically. Admittedly the character lends himself to being played that way but it’s too blunt. The liaison between Nick and Martha comes across as so sudden and forced due to how things have been staged that it’s as if you put two cats on heat in a box and watched them writhing into each other. Partially intentional of course but a bit too forced here when the others are in the room still.
Imogen Poots also plays her role somewhat safe if not overly straight with little if any nuance. Someone apparently watched Grease and decided to replicate a Pink Ladies. The role is a foil for the others and is meant to offer some levity to the deeply embittered proceedings but here, where everything is on the verge of spilling into slapstick, it’s hard to make the role have any weight sadly. She is a good actress and makes the most of what she can thus stealing a few scenes but usually gets left in the sidelines. Often quite literally by being offstage for most of acts two and three.
There is, as the preceding documentary insisted, humour in the dialogue but by drawing attention to it with slapstick like delivery undermines the underlying tragedy of the narrative involving a marital breakdown and how the characters feel trapped by social conventions.
Each person is ignoring reality and perpetuating a socially acceptable facade. They do so to appear as successful members of society when in reality each of them is, in their own way, severely damaged. In their overwrought efforts to fit social norms they only exacerbates their problems until confronted with their reality which ultimately breaks them. Be it Martha marrying George because she wanted to remain a part of her feckless father’s world in which she herself could never impress him. George never becoming head of the History department. Nick who married his childhood sweetheart because that’s what everyone expected of him (especially after the phantom pregnancy) or Honey who you could argue remains a cypher to us beyond her existence as Nick’s wife.
The costumes were what you would expect so there is no fault there and the stage design gives an over burdened, claustrophobic, atmosphere helping emphasis the intensity of the character’s interactions with it’s excessive furniture tightly packed into a small area. Some liberties were taken in order to make it more of a chamber drama than other productions might but on the whole you don’t miss anything substantial.
The play is good. This production is not.
If you have never seen a production of this play before then go watch the film starring Richard Burton and Elizabeth Taylor. I never suggest watching the film as, of course, it’s a completely different experience – however in this case I think the real life relationship of Burton and Taylor lent the dialogue exchanges a depth that is hard to replicate though, by their own admission, it took a toll on their relationship and Taylor felt she was playing Martha too much in real life afterwards. I feel the play is better played understated and straight while this version has overplayed the humorous aspects.
Personally I feel the delicate balance required for this play is lost and makes me wonder if, in trying to play up to the humour inherent in Albee’s dialogue, James MacDonald unintentionally played up the humour to differentiate this production from others and in doing so completely undermined the drama of the piece. It discredits the themes of reality versus illusion, as all comedy requires some level by trivialising or satirising of reality in order for us to cope with it’s harshness, and the social expectations both we and society expect of each other which few, if any can live up to.
Playing it for laughs too much means the impact of the reality is muted and because Martha is played over the top we see her more as a caricature not as a tragic figure who feels the need to exaggerate her actions in order to garner a reaction – first from a father who all but ignores her when she doesn’t serve his purpose and then a husband she feels is inattentive to her needs.
Nick is the overachiever being both an athlete and a prodigy who got his masters at 19 years old. He has to get things right at all times because that is what is expected of him. Even in the bed room he is expected to be a stud but ultimately, like all the men in Martha’s life, failing her as a ‘flop’. Honey gets pregnant (albeit it’s proven to be a phantom pregnancy soon after) so of course he will marry her as any good guy would. Failure is not an option.
Contrasting to him is George to whom failure is the only option and like any underachiever he plays the role of satirist playing out fictional narratives over and over to trivialise the dramas of reality. He fails Martha by not having children and by not being able to stand up to nor replace her father as a potent, in both senses, male figure in her life.
Honey… is a cypher. Is Honey even her real name or just a moniker everyone calls her by just like Lady Bird Johnson in real life because that’s the only name anyone around her uses? Do we hear of anything she does exclusive of Nick? Thus she is in the role of the trophy wife, as George was the trophy husband expected to have achieved but ultimately failing too for Martha.
Honey and George mirror each other as ‘failures’ – he as an academic and husband and she as a traditional housewife meant to serve her husband and cause him no trouble. Both fail to bear children in comparison to their alpha partners who, over the nights proceedings, are drawn to each other and have a tryst which ultimately leads them to realise that it’s not an equal they need but a partner who compliments and supports them. Honey, despite drinking, plays the doting wife to her husband obeying him when leaving while George, as Martha mocks at one point, makes her laugh and as the play ends he tries, but fails, to comfort her as she admits she is deeply scared now her bravado has been stripped away and she accepts reality now George has stopped humouring her about their son and no doubt any number of unspoken illusions they have maintained with one another until this point.
This review might be a bit patchy but I keep writing things and not posting them so expect, in the following few weeks, reviews of things that are a bit out of date…
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