Review: Exceptional Production of ‘Virginia Woolf’ At Walnut Street

By Tracy Hawkins

Edward Albee’s “Who’s Afraid of Virginia Woolf?” won the Tony Award for Drama in 1963 and was nominated for the Pulitzer Prize that same year. It was not selected due to the profanity it contained, and no prize was awarded that year. It’s arguably Albee’s best known and most successful work and is widely regarded as one of the greatest plays of the 20th Century.

It is a tough play. It’s a tough play to watch, it must be a tough play to stage, as it isn’t produced as often as such a notable work might be done. Kudos to the Walnut Street Theatre for taking on this formidable play.

Brandon O’Rourke, Greg Wood, Susan Riley Stevens, and Anna D. Bailey in “Who’s Afraid of Virginia Woolf?” Photo by Mark Garvin.

The action centers around the contentious marriage of university professor George and his wife Martha, and one evening in which they entertain a young couple, Nick and Honey, that they met at a faculty party. The alcohol flows freely, and while George might be prickly, a lubricated Martha is more than a match, lobbing verbal projectiles at him relentlessly. 

The play might have been first presented sixty years ago, but what would have been shocking then is sadly not as surprising in our embattled society. What is shocking are the twists and turns that the unhappy couple take and how they engage with their guests, notably Nick. The younger man might be an amateur fighter next to these two professionals, but he manages to keep his feet.

Much about this production is exceptional. Director Bernard Havard has assembled a first-rate cast, starting with Philadelphia gem Greg Wood as George, and his real-life spouse (and very capable opponent) Susan Riley Stevens as Martha. I can’t imagine how hard it is battle each other night after night and go home together, but they do an amazing job in their stage roles. Brandon O’Rourke’s Nick gives a nuanced performance as the odd man out, and Anna D. Bailey as Honey brings the only character for whom you feel any sympathy or compassion – Ms. Bailey gives her just the right touch of innocence.

Special recognition must be given to the set design by Roman Tatarowicz, as it is wonderful. I wasn’t the only audience member that stopped as we entered just to admire the view. Costumes by Natalia De La Torre, lighting by Ryan O’Gara and Christopher Colucci all added to the ambiance that drew you into the action onstage. 

While I can easily recommend this production as top-notch, I must confess that I would have wished for a few judicious cuts to bring the run time down. Three hours is a lot to ask of an audience. That said, if you’ve always wanted to see the show and have not had the opportunity, go see this production – you’ll see it as it was meant to be seen.

If You Go: