Review by Lucy Holz
The 1962 smash hit Who’s Afraid of Virginia Woolf? has become a well-worn classic, frequently studied in schools and universities, and a dream for any actor to score a role in. The Tony Award winning play written by Edward Albee is also well known for its 1966 film adaptation, starring Elizabeth Taylor and Richard Burton.
Taking place in the wee hours of a fateful Sunday morning following a university faculty party, this play captures the tumultuous and often cruel relationship between history professor George and his wife Martha. Martha invites a younger couple Nick and Honey, who have just joined the university ranks over for post-party drinks, and a night of brutal ‘games’ begins.
Taking place in the cosy 80-seat venue of Red Stitch Actors Theatre, there is a sense of intimacy in this staging, as though the audience have also been invited over for a nightcap. Director Sarah Goodes does an expert job of manoeuvring her actors around such a small stage, giving them blocking such as moving furniture to allow space for the more boisterous scenes further into the play.
Set design by Harriet Oxley makes the living room look warm and welcoming, a stark juxtaposition to the content of this biting drama. Projections on the back wall do lack subtlety and make the space a little busy at times, but these are only fleeting. Costumes also by Oxley are very familiar as they follow the lead of the iconic movie, with a demure cardigan for George and a low-cut blouse for Martha.
Also following in the footsteps of the film, Martha and George are played by real life husband and wife David Whiteley and Kat Stewart. Whiteley plays a whip-smart, likeable George in the first act, making his cruel taunting and physical attacks on Martha even more confronting as the play progresses. Similarly, Stewart owns the stage with her winning vocals and commanding physicality, making her descent in the final act all the more unexpected.
Not to be outdone by the two leads, the supporting actors playing Nick (Harvey Zielinski) and Honey (Emily Goddard) are just as strong. Goddard creates a hilarious and whacky Honey who teeters on the edge of upstaging but never quite does. Zielinski plays Nick as a seemingly reasonable man who is all too easily corrupted to reveal a side not quite as charming as we might have originally thought.
Lighting by Jason Ng Junjie is simple and unobtrusive, with sound by Grace Ferguson and Ethan Hunter complementing moments of intense action beautifully. All aspects of stagecraft remain subtle and suggestive, allowing the brilliant writing and performances to truly shine.
Running for three and a quarter hours with two intervals, this play is a marathon handled incredibly well by the cast. An ensemble piece with no weak links, it’s no wonder the show is already completely sold out.
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