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Who's Afraid of Virginia Woolf?

Who's Afraid of Virginia Woolf?
Written by Edward Albee
Characters Martha
George
Nick
Honey
Date premiered October 13, 1962
Place premiered Billy Rose Theatre
Original language English
Subject Marital strife
Genre Drama
Setting Martha and George's New England home

Who's Afraid of Virginia Woolf? is a 1962 play by 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 Sandy Dennis.

Contents

  • Plot summary 1
    • Act One – "Fun and Games" 1.1
    • Act Two – "Walpurgisnacht" 1.2
    • Act Three – "The Exorcism" 1.3
  • Themes 2
    • Reality and Illusion 2.1
    • Critique of the Societal Expectations 2.2
  • Inspirations 3
    • Title 3.1
    • Characters 3.2
  • Production history 4
    • Original production 4.1
      • Original Broadway cast album 4.1.1
    • 2004 to 2012 productions 4.2
    • Dance Interpretation 4.3
  • Awards 5
  • Film 6
    • Original Film Soundtrack Album 6.1
  • References 7
  • External links 8

Plot summary

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 drunk from a party, 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 math), and his wife, Honey. As the four drink, Martha and George engage in scathing verbal abuse 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 it at Martha, but an vomit, due to too much alcohol.

Act Two – "Walpurgisnacht"

"

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 labeled the "Definitive Edition" of the script, however, the second act ends before Honey arrives.[1]

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 fiction. George has decided to "kill" him because Martha broke their rule of never speaking of him to others. Nick and Honey leave, realizing that the cause of their hosts' shameless antics was their inability to conceive. The play ends with George singing, "Who's afraid of

Themes

Reality and Illusion

While other plays establish the difference reality and illusion respectively, Who's Afraid of Virginia Woolf? starts out with the latter but leans to the former. More specifically, "George and Martha have evaded the ugliness of their marriage by taking refuge in illusion."[2] The disappointment that is their life together leads to the bitterness between them. Having no real bond, or at least none that either are willing to admit, they become dependent upon a fake child. The fabrication of a child, as well as the impact its supposed demise has on Martha, questions the difference between deception and reality. As if to spite their efforts, the contempt that Martha and George have for one another causes the destruction of their illusion. This lack of illusion does not result in any apparent reality. "All truth", as George admits, "[becomes] relative."[3]

Critique of the Societal Expectations

Virginia Woolf, is also a reference to the song "Who's Afraid of the Big Bad Wolf?" from Walt Disney's animated version of The Three Little Pigs. Because the rights to the Disney song are expensive, most stage versions, and the film, have Martha sing to the tune of "Here We Go Round the Mulberry Bush", a melody that fits the meter fairly well and is in the public domain. In the first few moments of the play, it is revealed that someone sang the song earlier in the evening at a party, although who first sang it (Martha or some other anonymous party guest) remains unclear. Martha repeatedly needles George over whether he found it funny.

Albee described the inspiration for the title thus:

I was in there having a beer one night, and I saw "Who's Afraid of Virginia Woolf?" scrawled in soap, I suppose, on this mirror. When I started to write the play it cropped up in my mind again. And of course, who's afraid of Virginia Woolf means who's afraid of the big bad wolf . . . who's afraid of living life without false illusions. And it did strike me as being a rather typical, university intellectual joke.[5]

Characters

In an interview, Albee acknowledged that he based the characters of Martha and George on his good friends, New York socialites and his wife Martha Washington, America's first First Couple.

The play is incredibly fast paced and full of tongue twisters, very Albee-esque, but examines the breakdown of a marriage of a couple that are also each other's glue. Both Martha and George exhibit signs of bipolar disorder, but in an even more rapid succession. Bipolar disorder, also known as manic depression, is characterized by episodes of mania and episodes of depression, either or can precede the other. Perhaps due to the self-medication of excessive consumption of alcohol and cigarettes, Martha and George are able to showcase a condensed version of their manic depressive states to their guests. A possible cause for their fractured mental states is the play's big reveal: the son they speak so adoringly, and so mysteriously about, does not exist. "A protracted and painful struggle with infertility seems to be part of the answer."[7] Post-partum depression affects nearly 9-16% of women,[8] and what is forgotten is that it can also affect up to 10% of men,[9] both prenatal and/or post-partum. But what happens to the couples who experience that depression when the child isn't even present? Some couples make the decision, and possible mistake, of having a child to save a marriage. George and Martha don't have that option, yet lie about a child as a game to keep some type of nuance in their union. The possibility that both George and Martha may have bipolar disorder, or some type of mental disorder, is harrowing on both. It is vital for them to have "open communication" and to "adjust to the tendencies of each other",[10] unfortunately, George and Martha butt the issues of their marriage with bouts of jealousy, rash insults, and twisted games to test the boundaries of each other's human emotional capacity. They demonstrate the characteristic of bipolar disorder or social disorder in their inability to recognize others' discomfort. Or perhaps they aren't mad at all and fully aware of their intentions. That would then make them emotional and mental sadists.

Production history

Original production

Who's Afraid of Virginia Woolf? opened on Alan Schneider. Subsequent cast members included Henderson Forsythe, Eileen Fulton, Mercedes McCambridge, and Elaine Stritch.

Because of the unusual length of the play (over three hours), prior to the opening a matinee company was also hired that performed twice a week and featured Avra Petrides as Honey and Bill Berger as Nick.[11] As with the evening company, these matinee performances also sold out.[12]

Original Broadway cast album

In 1963, Columbia Masterworks released a four-LP (long-playing) boxed recording of the original Broadway cast performing the entire play under the direction of Alan Schneider.

The release contained a sixteen-page booklet with photos from the original production, critical essays by Harold Clurman and Walter Kerr, cast and crew biographies, and a short article by Goddard Lieberson on the task of recording the play. The introduction is by Edward Albee, in which he relates, "I cannot conceive of anyone wanting to buy [this] massive album; but...every playwright wants as much permanence for his work as he can get."

The recording was issued in both stereo (DOS 687) and monaural (DOL 287) formats. It was out-of-print for many years, and was never re-released in other formats and is highly prized among collectors, as a play with such adult themes had never been recorded for the general public before.

The original cast recording was re-released in 2014 by Broadway Masterworks.[13]

2004 to 2012 productions

The play was revived on Mireille Enos (Honey) and David Harbour (Nick). Irwin won the 2005 Tony Award for Best Actor for his role.[14] The production transferred to the West End at the Apollo Theatre with the entire original cast, running from January 31, 2006 to May 13, 2006.[15] In January 2007 the Turner-Irwin production was performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C., for a month-long run. On February 6, 2007, the production began a six-week run at the Ahmanson Theatre in Los Angeles.

The play toured in the US and played in San Francisco at the Golden Gate Theater from April 11 to May 12, 2007.

On December 12, 2010, the Carrie Coon and Madison Dirks. The production was directed by Pam MacKinnon, who previously directed the premieres of Albee's Peter and Jerry, and Occupant.

This production opened on Broadway at the

  • Who's Afraid of Virginia Woolf? at the Internet Broadway Database
  • Who's Afraid of Virginia Woolf? at the Internet Broadway Database
  • Guardian review of London production 01/02/2006
  • Who's Afraid of Virginia Woolf? literary analysis, themes, quotes, teaching guide
  • Columbia Masterworks 1963 original cast recording

External links

  1. ^ "Drink, Drink and Be Merry" Theater Jones, accessed October 15, 2012
  2. ^ Kingsley (1973:74)
  3. ^ Meyer (1968:69)
  4. ^ Bigsby (1967:268)
  5. ^ Flanagan, William (Fall 1966). "The Art of Theater No. Edward Albee" (PDF). The Paris Review 4 (39). Archived from the original on 2008-05-29. Retrieved 2008-06-17. 
  6. ^ Gussow, Mel (2001). Edward Albee: A Singular Journey : A Biography. New York: Applause Theatre Books. pp. 185–186.  
  7. ^ http://www.psychologytoday.com/blog/contemporary-psychoanalysis-in-action/201212/whos-afraid-virginia-wolf
  8. ^ https://www.apa.org/pi/women/programs/depression/postpartum.aspx?item=1
  9. ^ http://psychcentral.com/blog/archives/2012/04/16/when-dad-has-postpartum-depression/
  10. ^ http://psychcentral.com/lib/when-one-bipolar-marries-another-an-interview-with-shannon-flynn/0007028
  11. ^ The New York Herald Tribune, October 11, 1962, article entitled A Director's Double Trouble-- Rehearsing 2 Casts for 1 Show
  12. ^ Edward Albee: A Singular Journey by Mel Gussow
  13. ^ http://www.nytimes.com/2014/03/09/theater/listening-to-the-original-whos-afraid-of-virginia-woolf.html
  14. ^ "Listing, 2005 Broadway" InternetBroadwayDatabase, accessed June 14, 2012
  15. ^ "Listing, Apollo Theatre, 2006" thisistheatre.com, accessed June 14, 2012
  16. ^ "The 2008 Pulitzer Prize Winners – Drama". pulitzer.org. 
  17. ^ "Edward Albee's Who's Afraid of Virginia Woolf Directed by Pam McKinnon". Retrieved 15 September 2012. 
  18. ^ Jones, Kenneth. "George and Martha Will Settle Into Broadway's Booth for 50th Anniversary of Albee's 'Virginia Woolf'" playbill.com, June 13, 2012
  19. ^ "Taking No Prisoners in Boozy, Brutal Head Games".  
  20. ^ Chamberlain, Adrian (7 July 2011). "Meg Tilly's leap of faith". Times Colonist. Retrieved 2 February 2012. 
  21. ^ "Edward Albee's Who's Afraid of Virginia Woolf?". Blue Bridge Repertory Theatre. Retrieved 2 February 2012. 
  22. ^ One Yellow Rabbit Performance Theatre. "Performance 1987-99". 
  23. ^ Klein, Alvin. "Albee's 'Tiny Alice, The Whole Enchilada". The New York Times, 24 May 1998: CT11.
  24. ^ Jack Valenti. "How It All Began". Motion Picture Association of America. Archived from the original on 2008-05-21. Retrieved 2008-06-17. 

References

The music from the film was bootlegged unofficially onto an undated German CD that featured 11 tracks of film composer Alex North's score from the film (other music releases from the film used conductor Jerry Goldsmith's music, which also added snippets of dialog on a couple tracks, especially Elizabeth Taylor shouting "SNAP!").

In at least two instances alternate takes were used: Taylor's memorable "Goddamn you!" line is restored to "Screw you!", and some of the dialogue from the dancing sequence was lifted from another take. As Martha tells her story about punching George in the stomach in front of her father to Nick and Honey, it is heard very clearly while in the film it became distant and muffled as the camera followed George into another room to get a gun. The album also ran a half-hour shorter than the movie as most pauses and long silent moments were removed. However, virtually every line remains intact. The album's cover has the four main actors on the cover and the back cover has some background information about the four actors, information about the five-month shooting schedule, some information about Albee and a brief synopsis of the film. This album is also out-of-print, was never re-released in any other formats and is also highly prized among collectors.

The film was given a "Deluxe Edition Two-Record Set" soundtrack album release in 1967 by Warner Bros. Records, and was the first film to have its vocals be released in its entirety on an album, as the film (at that time) could never be shown in reruns on network television. It contains the vocals of the four actors performing in the film with the only piece of music heard throughout the entire album is a song titled "Virginia Woolf Rock" that plays while Martha and Nick are dancing (but plays a little differently than it does in the film).

Original Film Soundtrack Album

Jack Valenti identifies the film as the first controversial movie he had to deal with as president of the Motion Picture Association of America (MPAA). The movie was the first to use the word "screw" and the phrase "hump the hostess" on screen. As he says, "In company with the MPAA's general counsel, Louis Nizer, I met with Jack Warner, the legendary chieftain of Warner Bros., and his top aide, Ben Kalmenson. We talked for three hours, and the result was deletion of 'screw' and retention of 'hump the hostess', but I was uneasy over the meeting."[24]

A film adaptation of the play was released in 1966. It was directed by Sandy Dennis as Honey. All four major actors were nominated for Academy Awards: Taylor and Burton for Best Actress and Actor and Dennis and Segal for Supporting Oscars. Elizabeth Taylor won the Oscar for Best Actress but Richard Burton was passed over that year in favor of Paul Scofield in A Man For All Seasons. Sandy Dennis won the Oscar for Best Actress in a Supporting Role.

Film

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. Its stars won the 1963 Tony Awards for Best Actor and Actress as well. It was also selected for the 1963 Pulitzer Prize for Drama by that award's drama jury. However, the award's advisory board – the trustees of Columbia University – objected to the play's then-controversial use of profanity and sexual themes, and overruled the award's advisory committee, awarding no Pulitzer Prize for drama in 1963.[23]

Awards

In 1995 and '96 the Canadian One Yellow Rabbit troup mounted an homage in dance to playwright Edward Albee called Permission in the form of an hour long ballet inspired by Who's Afraid of Virginia Woolf. They performed it in their home city of Calgary, as well as in Toronto, Phoenix, Guadalajara, and Mexico City.[22]

Dance Interpretation

Meg Tilly returned to acting in 2011 playing Martha[20] in a production by Blue Bridge Repertory Theatre.[21] The show ran July 5, 2011 – July 17, 2011 in Victoria, B.C.

[19].Charles Isherwood reviewer New York Times Following opening weekend, the production and cast won high praise from [18]

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