In a particularly ugly anecdote, Martha tells the story of how she tricked George into boxing , and knocked him out cold. It’s a dilemma for George. American culture would never condone George punching a woman, so she blindsides him before he can protect himself. She humiliates him in front of his future in-laws, knowing he can’t retaliate. Perhaps this is a metaphor for their marriage. The submissive husband and the brutal harridan.
As the night wears on, Honey and Nick start to realize what Martha and George have got going is less like sniping, than verbal brawling. Martha crudely disparages George’s manhood, while George’s blows to her unladylike behavior are cerebral. Not that he’s above name calling and needling. George might seem arrogant, but for the fact that erudition doesn’t work in the boxing ring. He’s doing the best he can. Basically Martha and George have roped an unsuspecting couple they can degrade and wound, when they’re not fucking with each other. Martha has lured them for the sake of keeping things interesting. And using them as cudgels.
Playwright Edward Albee has created a paradigm for American values and the marital dynamic. A false dichotomy that insists a man has two choices in service to his wife. “….stud or houseboy.” If he’s not a sexual force of nature, he’s a servant. On the other hand the wife is an omnivorous earth mother or devoted concubine. Albee achieves a phenomenal level of intense battle, between Martha and George. At the start of Who’s Afraid of Virginia Woolf?, it seems like pointed squabbling, but as it escalates, they summarily tear into each other. It’s not just fighting, it’s vindictive, volcanic rage. Nick and Honey are not immune. George surmises the secrets that have kept their marriage intact, and exposes them.
Apart from witnessing our heroes clobbering each other, Albee tenderly reveals the painful, unspoken episodes, that have damaged them. That fuel the pugilisism. Albee’s cunning is his ability to demonstrate the crucial events that trigger George and Martha’s raison detre’. The quandaries that torment them. He illustrates the same struggles and despondency that plague the American Married Couple. I’ve never cared much for George and Martha’s fight to the bitter end speech, it feels excessive and gratuitous. The two are already dangerously close to camp. But apart from that, it’s positively brilliant, taking to endless despair, and illuminating a married couple’s blackest moments. Stunning and subversive.
Theatre 3 and Blake Hackler have managed to tame the tiger without harm. Or pulling its teeth. Who’s Afraid of Virginia Woolf?, is ridiculously demanding. It must be an exhausting trial for any actor, the drama is long and punishing. Hackler has taken these actors far beyond the surface to meticulously realized, detailed, organic performances. Christie Vela as Martha is tough, fierce yet convivial. Jeffrey Schmidt as the pernicious George, might pretend to be sullen and innocuous, but delights in poking the bear. Felipe Carrasco as Nick is self-assured, intelligent but contemptuous. I very much appreciated Olivia Cinqepalmi as Honey. Usually played as perky and insipid (thanks to Albee’s depiction) Cinquepalmi gives her more substance. And genuine sweetness.
Seriously though, call the box office for directions.
Theatre 3 presents Who’s Afraid of Virginia Woolf? Playing July 14th (Bastille Day!)through 17th, 2022. 2688 Laclede Street, Suite 120, Dallas, Texas 75204. 214-871-3300. www.theatre3dallas.com