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Edward Albee and Who's Afraid of Virginia Woolf are in rarified air these days. Along with some other recognizable names, Williams' Streetcar and Menagerie, Miller's Salesman, and O'Neill's Long Day's Journey, this is one of those Twentieth Century American Plays that has transcended its time. Some plays suffer from being too much in the there and then, such as Dark at the Top of the Stairs, and some have lost their social significance, like Waiting for Lefty, but the Pulitzer Prize-winning Virginia Woolf remains relevant and timely, thirty four years after its initial production.
Taking those forgettable single-set parlor dramas of the '50s and turning them on their ear, Virginia Woolf managed to present the seamy underside of academia and the American Dream in what was a shocking and completely unexpected way. These days, it's hard not to know the twist ending that made this such a controversial play three decades ago, but the knowledge has actually enhanced the production, allowing the audience to concentrate on the journey rather than trying to second guess the author. George and Martha's infamous party games are now the star attraction, and with the right cast, can make the nearly three hour journey a delight and torture all at once.
Arizona Performing Arts Theatre, the legit-theatre offshoot of Murder Ink Productions, has been producing some interesting theatre of late. Coming from the successful run of Frank McCourt's A Couple of Blaguards, owners Alan and Marney Austin have decided to take a stab at this difficult and enjoyable show. Directed by Mr. Austin, the results are mixed, but a worthy attempt nonetheless.
At the center of this four person debacle are Alan Austin as the tired History prof George, who has sparred with his wife for so long, it seems to be his only exercise, and Marney Austin as Martha, the daughter of the President of the College who is embittered by her husband's inability to move up the ranks as was expected of him. Despite some initial problems in the first of the three acts of this production, their performances are solid. Both Mr. and Mrs. Austin are over-the-top, especially Mrs. Austin, yet for some odd reason, this actually works with Albee's long-winded and intricate script. In some odd way, their indicating enhances rather than interferes with the dramatic action. Despite this potential problem, they do totally invest themselves into their roles, an important saving grace for this play. To watch these two partake in their vicious blood sport is both entertaining and painful, exactly what is needed. While some of the layers of characterization are lost in Mrs. Austin's performance, there are still enough intact and ready for peeling throughout. And while Mr. Austin's emotional explosions seem stagey, his much more important maneuverings and vagaries seem completely natural.
The major problems of this production come from the younger couple being initiated into the ways of academic politics. As the young new Biology professor with aspirations, Nick, Larry Krask is much-too Generation X from the very start to allow himself a marked difference between his initial insincere sincerity to his integral second act tipping of his hand to his final contemptuous scorn and defeat. Mr. Krask is much too smug upon his entrance, and in the wrong way, to give himself important character shadings as the party games build. By the end, his defeat is much more deserving than sympathetic, which throws off the delicate balance of this show. As his mousy, thin-hipped wife, Honey, Marcia Ashenfelter begins the evening too stereotypically and annoyingly dingy, though she redeems her performance as she slips in and out of an alcoholic stupor during the last two acts, playing very realistically and much more subtly throughout the climax of the show.
The simple set is effective, and Dayna Gulino's lighting and sound work well in this small space.
Though the show does run very long, since the script seems nearly intact and the actors pacing is generally brisk, the final two acts are worth the wait. And while the younger couple do not live up to their expectations, the delightful and malicious Albee dialogue and the solid performances by the Austin's make this an interesting production nonetheless.
Production Details:
Who's Afraid of Virginia Woolf by Edward Albee
Arizona Performing Arts Theatre
On The Spot Theatre, Phoenix
844-8520
June 4th-June 13th, 1998
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