There is no one who does it better than Edward Albee when it comes to putting the American Dream under the microscope. In his Tony-Award-winning play, Who’s Afraid of Virginia Woolf?, which opened on January 23, 2025 at Canadian Stage‘s Bluma Appel Theatre, Albee has created one of the most toxic marriages in literature. Directed by Brendan Healy, the play stars two Canadian acting giants: spouses Paul Gross and Martha Burns.
George, a history professor at a prestigious college and wife Martha, daughter of the college’s president, have invited a young couple, Nick and Honey, whom they met at a faculty party home for drinks. The couple quickly see what Martha and George have in store for the evening when they witness them heaping verbal (and sometimes physical) abuse upon one another. In typical sado-masochistic fashion, Martha and George seem to delight in berating each other’s shortcomings. It is no coincidence that the couple is ironically named after the first president of the United States and his wife, who represented an American ideal.
As the drinks flow, the abuse intensifies and any pretense of morality is quickly discarded. What’s worse than the abuse is George and Martha’s conflation of illusion and truth. One way this manifests is in George’s word games where, for example, he jests that Martha’s father is “over 200 years old”. This example is innocuous enough, but other accusations are more harmful since it’s more difficult to separate the truth from a falsehood. The illusions the couple have created to bury their disappointment in the trajectory of their lives are just barely holding their marriage together. They did what they thought would make them happy per the American Dream, but it just hasn’t worked out as portrayed.
Underpinning the tenor of the evening is the theme of children. George and Martha refer to their absent 21-year-old-son while Nick confides that Honey has had a hysterical pregnancy. Martha treats George, who is six years her junior, in an infantile manner, calling him, “Poor Georgie-Porgie.” Further, Nick discusses his field of work as a biology professor that includes genetic modification of embryos to produce test tube babies with desirable traits. The portrayal of children in the play clearly clashes with the American Dream’s ideal two-child family.
Despite its dark subject matter, the dialogue is overflowing with witticisms. For example, when Honey asks where she can go and powder her nose, George advises Martha to show her “where we keep the euphemism”.
Julie Fox has created a resplendent set typical of the 60s upper middle class that includes boldly-coloured contemporary sofas, wall light fixtures, breezy curtains and an abstract painting. A staircase leads off stage to the bedroom while the rotating stage gives us a different perspective on the action.
Hailey Gillis stands her own against Gross and Burns. Gillis’s performance as Honey is sparkling and humorous, especially during the classical dance scene.
Kudos to Rylan Wilkie who was called in to play Nick at the last minute and had to refer to a script (actually a book that he held). Wilkie did an outstanding job, only casually referring to his lines from time to time. His transformation of Nick from an easygoing, loyal husband to a semi-drunk, flirtatious and intense boy-toy reveals his depth as an actor.
Martha Burns gives a searing performance as the hard-drinking, abusive Martha in a generally unsympathetic role. Burns’s great understanding of her character is on display when she manages to elicit empathy for Martha when she discusses her adoration of her father. Her retelling of the boxing scene is powerful and funny.
Paul Gross is magnetic as George. He imbues his character with razor sharp comedic delivery, repressed anger and emotional volatility, which all contribute to a commanding performance.
The ensemble cast put on an outstanding master class. This is three hours of theatre at its pinnacle.
Tickets are $49, $92, $124 and $156. Purchase tickets online at Canadian Stage or in person at the Box Office. Run time is three hours and 30 minutes with two intermissions.
Who’s Afraid of Virginia Woolf? at Canadian Stage Bluma Appel Theatre runs until February 16, 2025. Bluma Appel Theatre is located at the St. Lawrence Centre for the Arts, 27 Front Street East, 416-368-3110.
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