WHO’S AFRAID OF VIRGINIA WOOLF? Preview Thread — Page 3

Metcalf wears a wig in the actual production; very flattering and somewhat in the Elizabeth Taylor mode of the role.

The show is firmly set in the 1960s. George and Martha's house looks to be more of a contemporary design than the usual shoddy, college-cottage aesthetic most productions go for. The living room has floor to ceiling shelves covered in books, but the furniture (and windows) make the house design seem more mid-century modern.

This was the first production I've seen of this piece, and I essentially went in blind. Before I get into the specifics of this production, I'd just like to take a moment to say how incredible this text is. The play is by turns hilarious and devastating, and I have a huge appreciation for Albee after seeing it. I was completely drawn in for the entire three hours and marveled at how good the writing was - especially as delivered by this cast.

I thought the four actors were all very strong and working together really well at this early point in the run. Patsy Ferran is well-suited to play Honey, and her performance just felt natural. It was the sort of performance where you forget that the person is acting and you just see the character. Russell Tovey also inhabits Nick completely, and has the perfect physicality for the role. Rupert Everett was enthralling as George. I know there are a lot of people who were blown away by Letts in the last revival, and I clearly can't make any comparison. However, I really thought Everett delivered a great performance. I'm not sure if the role is usually played British, but there was something just delicious about Everett's delivery of the text. It worked well in the context of an old-school academic and really highlighted Albee's wit.

Then there's Laurie Metcalf. What can I say? The woman is clearly one of the greatest stage actors of our time, and she delivers in this role. She went up on a line at one point in the first act. While trying to find her place, she ad-libbed a couple lines and threw in a great physical comedy bit that elicited huge laughter and an extended applause from the audience. By that point she had the rest of the cast, especially Tovey, struggling to stay in character and was past the point of being able to find her way back to where she was supposed to be in the text. She ended up calling "line" and having someone backstage feed her the next line. Then we were immediately back on track without any similar issues for the rest of the performance. My description might not do it justice, but it was just one of those moments that makes me glad I get to go to the live theatre. I agree with the previous poster that mentioned how Martha's seduction of Nick is completely believable in this production. Metcalf's Martha is empowered and a force to be reckoned with. She nails the comedy, but when things get more serious she's totally devastating.

I thought the set design was very effective, and as usual Joe Mantello shows why he's one of the best directors out there right now. The production is extremely cohesive, and I believe that these people, while all unique, all inhabit the same world. This has by far been my favorite production of a play so far this season. I'll also mention that I didn't miss the second intermission. There's not even a real pause between Acts II and III, the curtain just comes down for maybe 5-10 seconds. I wasn't bothered by the long sit, and actually thought the lack of an intermission helped to keep up the dramatic tension and drive things along toward their inevitable conclusion. As you can tell, I highly recommend this piece and can't wait to hear more people's reactions.

I won the Lottery for today's Matinee. Orchestra AA 111. Really enjoyable.

This might be my new favorite play. I have never been so captivated by a show. I didn't take my eyes off the stage once. It was funny and devastating and honestly? just give Laurie Metcalf the Tony now. She's absolutely incredible. The one thing I questioned when I walked out of the theater was, I wonder how effective it would have been if instead of yelling a lot, she spoke quietly. Sometimes, that's even more effective than yelling; a low, dangerous tone, kind of like how Miranda Priestly in The Devil Wears Prada never yells, you just know how upset she is because her tone gets very soft. That was the only thing I questioned when I walked out. Honestly, I have never been so shaken by a production (in a good way!).



PS. No show specific cups or merchandise available when I saw it--yesterday.

PrinceAli said "Anyone know if there is merch?"

hearthemsing22 said: "PS. No show specific cups or merchandise available when I saw it--yesterday."

Correct me if I am wrong, but I do not think Rudin allows any merch for his plays? Mockingbird might be the only exception because I do not recall Gary having any merch when that ran last spring.

hearthemsing22 said: Really? That's so interesting! I wonder why he'd make that decision (no sarcasm or anything. I didn't see Gary so I don't know if this is a normal thing)."

Yeah, it's a bit odd. Previous threads mentioned Rudin does not want merch to take away from the show (again IIRC), and only does it for big musicals and for plays that other producers insist on merch (like Mockingbird). A shame too as imo Gary had some amazing art that would have been fantastic on merch.

Umeboshi said: "For someone who seems to enjoy imposing rules, I wish he would ban food forhis shows. The constant noises of crinkling candy wrappers were very distracting during To Kill a Mockingbird."

I'm so sorry this happened to you! I can't believe anyone would be focused on anything else except the actors onstage during such an intense production,

Caught this tonight and three hours flew by. The production has its flaws, but, this is Laurie Metcalf's show.

This is light years better than the inert, unmoving Letts/Morton production with Morton starting out at 100mph with nowhere to go. Metcalf avoids that pitfall. The production does not, however, erase the memory of the Kathleen Turner/Bill Irwin production.

I can only imagine Metcalf will hone this performance and it will be extraordinary. She is playful, sexual, angry, hurt and every other emotion you can think of. You watch her performance build to its inevitable collapse, but unfortunately, what should be a heartbreaking final scene is oddly unmoving. I think this is a director issue. Mantello mostly does a decent job, but it's this sort of thing that needs fixing during the preview period.

I was intermittently taken with Rupert Everett. His performance started off a bit shaky. I think he's still finding his footing, but he got much better as the play progressed and I think he'll get there, because, he was very good by the conclusion. What he doesn't bring is anything new. Bill Irwin illuminated George in ways I had never seen or imagined. I'm not sure Everett will rise to that level. Letts didn't come close. I'm glad he performs with his natural accent. It adds to his character and worked well for me.

Russell Tovey is good, but not great. Again, maybe just finding his footing in this bear of a play. I bought Metcalf going after him, but not the other way around.

I'm conflicted on Patsy Ferren. The more I think about her the more I liked her, but while I watching her, I wasn't getting it.

I see what Mantello was doing with the set and it doesn't fully work. The idea is there, but it's not fully executed yet. He is skilled, however, in pulling nuance from his actors and that's a good thing in this play.

Overall, this is a solid production that will get more solid with time. The three hours flew and I never checked my watch once. I look forward to returning, down the road, to see how everyone has deepened and developed their characters.

I stagedoored after the show was over and met three out of the four except Laurie, who was said to have a meeting (with the director I suppose) as it's still in preview. They were all genuinely friendly but some of them didn't bring a Sharpie......

Are you saying that some of the actors didn't bring a sharpie or are you saying that some of the fans didn't bring a sharpie? Not that it really matters to me, but is it considered unusual that actors don't carry around sharpies or is it considered unusual that a fan would request an autograph without offering a sharpie?

Sorry, some of the actors didn't. I brought my own, but last time I stagedoored for four musicals and pretty much all actors had their own sharpies, so I assumed it would be the same. Not sure how long they will do still do stage door tho, due to health concerns.