Edward Albee’s 1962 classic invites us into the New England home of failed historian George and his wife Martha, the boss’ daughter, in order to witness the mother of all marital ding dongs.
To rub salt into the wounds, Albee also introduces a newly arrived young couple, Nick and Honey, who at first watch in disbelief and are then gradually drawn into the big fight. One of the top ten American plays, this fearless critique of marriage is also a fascinating drama that mixes savage humour and emotional insight.
It is not only a profound view of what makes couples tick but also a state of the union piece, with George and Martha having the same Christian names as those of Washington, the first president of the USA, and his wife.
Albee’s America is a land riddled with jealousies, illusions and barrenness. This booze-fuelled marital punch-up stars Kathleen Turner and Bill Irwin, and the show, which originated on Broadway, benefits from its convincing all-American cast.
Although Irwin is perfect at conveying George’s complex and contradictory feelings, his fear as well as his intelligence, Turner occasionally lacks the fire that her part demands. But even if her familiar husky voice tends towards a monotone, she still commands the stage with moments of roaring sensuality and at the end manages to convey the deep disappointment of a woman whose biological clock has ticked its last.
As the younger couple, David Harbour is particularly good as the bullish and self-righteousness Nick and Mireille Enos is delightful as his squiffy wife.
Directed by Albee specialist Anthony Page on John Lee Beatty’s fine sixties campus set, this version feels fresh in its detailed reading of the emotional games being played by the two couples and strikes a good balance between spiky comedy and gut-wrenching aggression.
Production information can change over the run of the show.
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