Unveiling the Chaos of 'Who's Afraid of Virginia Woolf?': A Review of the Leicester Revival
In the dimly lit halls of New Carthage, the air crackles with tension as couples engage in a brutal dance of words, fists, and spirits. Edward Albee's 1962 masterpiece, 'Who's Afraid of Virginia Woolf?', is a gripping exploration of academic rivalry, marital battles, and the dark undercurrents that threaten to drown any semblance of civility. This review delves into the recent revival at Leicester, where the carnage unfolds with every bottle uncorked and every word exchanged.
The Fight Within and Without
Albee's play, set against the backdrop of the Cold War, presents a world where characters, much like boxers, wear down their opponents with verbal jabs and emotional hooks. The story centers around two academic couples: George and Martha, and Nick and Honey. The former, a history professor, and the latter, a biology professor, engage in a battle of wits and wills, mirroring the intense rivalries of their respective disciplines. The play's opening night, coincidentally, occurred during the Cuban Missile Crisis, a stark reminder of the volatile era it portrays.
The revival's production, directed by Cara Nolan, captures the apocalyptic essence of the play. The set, designed by Amy Jane Cook, features a blood-red front door, a haunting portal to the hellish realm where George and Martha's marriage resides. Cathy Tyson and Patrick Robinson, as the infernal hosts, deliver a mesmerizing portrayal of the couple's lethal codependency. Their performances are so compelling that it's as if the boxing judges have called it a draw, with both contenders displaying equal prowess.
Tyson's Martha is a tempestuous force, struggling to maintain her imperious demeanor even as the alcohol clouds her judgment. Between the misogynistic one-liners that elicit gasps from the audience, Robinson's George reveals the vulnerable heart beneath the facade, a poignant contrast to the harsh reality of their relationship. The other couple, played by George Kemp and Tilly Steele, starts the play with an aura of innocence, almost like Ken and Barbie stepping into a Hammer film, only to be confronted with the harsh truths of their own marital struggles.
Verbal Sparring and Emotional Bruises
Albee's dialogue is a symphony of contrasting tones, with male and female voices weaving in and out, creating a complex tapestry of emotions. The cast rises to the challenge, delivering a magnificent performance, especially in the climactic finale. The tragic-comic quartet is followed by a devastating duet, where the tension between the characters reaches its boiling point. The fights within the play, whether male against female, history against biology, or fantasy against reality, are undoubtedly a knockout, leaving the audience captivated and questioning the very nature of human relationships.
The After-Hours Drama
The play's setting, a campus home, serves as a microcosm of the larger societal issues of the time. The constant bathroom breaks, a dramatic device to provide characters with moments of solitude, may also reflect the practical need for actors to escape the confines of the stage. The excessive alcohol consumption, with numerous bottles of stage booze consumed over three hours, further emphasizes the chaotic and destructive nature of the relationships portrayed.
A Timeless Revival
Despite the passage of time, 'Who's Afraid of Virginia Woolf?' remains a relevant and thought-provoking piece. The revival's topicality is enhanced by the underlying sense of civilization's fragility, a theme that resonates with modern pessimists. As the curtain falls, the audience is left with a profound understanding of the human condition, questioning the very nature of relationships and the consequences of unchecked emotions.
In conclusion, the Leicester revival of 'Who's Afraid of Virginia Woolf?' is a must-see spectacle, offering a raw and unflinching look at the darker aspects of human nature. The performances, set design, and Albee's masterful dialogue combine to create an unforgettable experience, leaving audiences questioning the very foundations of their own relationships and the world around them.
