Phoenix Theatre's Who's Afraid of Virginia Woolf?
(out of 
)Mark S.P. Turvin
(home office) (602) 912-0117
I can be reached for comment via e-mail at: mspt@goldfishpublishers.com
Reviewed 4/9/99
(out of )Let's just say it and be done with it; the production of Edward Albee's Who's Afraid of Virginia Woolf? that Director Gary Griffin offers looks all wrong. Textually, Mr. Albee has called his braying, strong-willed Martha an "earth mother," and Phoenix Theatre's production utilizes Wendy Robie, whose slight and tight body are nothing resembling the stereotypical definition of that phrase. He makes History professor George out to be a milquetoast, and valley favorite Kim Bennett towers over the rest of the cast in an interesting mixture of John Cleese and former PT Artistic Director Michael Mitchell. He defines young Biology professor Nick as a '60s All-American stud muffin, yet Matthew Mazuroski just isn't the quarterback type. Finally, the term used to describe Nick's ninny-noddle of a wife, Honey, is "thin-hipped," yet the costume that Susan Johnson-Hood has created for actress Maggie Hunts does not hide the inaccuracy of that description. And yet, despite how wrong the production actually looks, no one can deny that Mr. Griffin's snappy direction, as well as the cast's impeccable acting and timing proves the old adage that looks can be deceiving. Once the odd look of the choices is gotten past, the power of the production takes over.
Mr. Albee's wonderful text is here unmolested. The audience is
treated, as few audiences are, to every single letter of his original
script, and the nearly overwhelmed crowd that stumbles out of
the theatre at 11 p.m. can understand why this play is one of
the seminal scripts of modern American drama. The fury and volatility
of the dialogue, and the bitterness of the topic, are well served
by actors and director. The rapid-fire delivery of the textual
body-blows, and especially Mr. Bennett's off-handed lobbing of
word-grenades, keep this production from ever sinking into tediousness.
There are definitely moments that drag, and some of Mr. Albee's
repetitions can be wearing on an audience, but Mr. Griffin's nearly
choreographed pacing never allows the audience a chance to lose
their interest completely. By the end of the evening, everyone
on both sides of the footlights is worn out, but in a good way.
The best performance of the evening comes from Mr. Bennett, who
is fiendishly acquiescent, while always looking for ways to seize
control of the situation. The flip way that he tosses off his
cruel epithets is pure genius. While he really does seem too powerful
to be Martha's browbeaten, downtrodden mate, this acquiescence
is his best justification, and he uses it to perfect effect.
Unfortunately, it's not just looks that hamper Ms. Robie. Her
performance is the only one that seems a bit out of synch with
the rest of the show. She has some weird cadences and pauses in
her delivery that call attention to themselves. This is a Martha
who brays, but in a strangled way that seems slightly odd in comparison
to the normal interpretation of her character. Having to overcome
her slight build and stature has turned Ms. Robie more into a
pitbull than a grizzly bear, and while still just as menacing,
it leaves her less choices when spewing her bile.
Despite his more basketball center appearance, Mr. Mazuroski has
the attitude of the self-centered Nick down pat. Whether pathetically
flirting with Martha, or attempting to one-up the sneaky George,
Mr. Mazuroski plunges ahead, never aware of the obviousness of
his characters machinations.
Finally, as the silly simp, Honey, Ms. Hunts is annoying without
being an annoyance in the overall production. Hers is not a mouse
in the Sandy Dennis vein, but a loud, tittering dunce who flaunts,
rather than fall into, her lack of connection. This highlights
her strongest moment, when she attempts to avoid, but is dragged
into, the revealing of George's final, insidious game.
Unfortunately, the cavernous stage of Phoenix Theatre and Gro
Johre's use of implied New England stodginess only works with
the decrepit furniture onstage. The paintings on the walls, and
the low-rise bookshelves do not bring across the cramped, on-a-budget
feel of the setting necessary. Paul Black's lighting is
acceptable, though the many shadows on the faces of the cast as
they move further downstage is an annoyance. His final tableau,
though, is a wonderful effect. Ms. Hood's costumes are acceptable
on the men, but just plain awful on the women. Mr. Mazuroski's
too-tightly-fitting pants, Ms. Hunt's pillowy party dress, and
both of Ms. Robie's ugly costumes were a disservice to the show.
While the casting choices may initially look wrong in this production,
the ensemble overcomes any trepidation as they begin their fun
and games. This is a worthy show, and a struggle for actor and
audience member alike, and the power of its text, in conjunction
with the strength of its cast and director, make it acceptable
to ignore the production's initial visual impressions.
Production Details:
Who's Afraid of Virginia Woolf by Edward Albee
Phoenix Theatre, Phoenix
(602) 254-2151
April 9th - April 25th, 1999