Review: Who’s Afraid of Virginia Woolf? (@SohoPlace)

Review by Daz Gale

⭐️⭐️⭐️⭐️

There’s always something satisfying about a classic play being revived, especially when a new way to present it is offered. This is where @SohoPlace has fit in nicely - since opening its doors four years ago, its intimate space has been home to a mixture of brand new works and fresh takes on classics, with a pretty consistent hit rate. Their latest offering is a new production of Edward Albee’s timeless Who’s Afraid of Virginia Woolf? in what may be the most intimate staging of the story yet. As Martha and George welcome guests into their home, the lack of walls and close (perhaps too close for comfort) surroundings of the audience extends that invitation to the 600-strong audience - let’s just hope they have enough alcohol for everyone. Could this new production leave all subsequent attempts at the story trembling in its wake, or would it be a case of fearing the worst when it comes to this bold and ambitious new telling?

First staged in 1962 and revived multiple times in the decades since, including an acclaimed 2017 West End production starring Imelda Staunton, Who’s Afraid of Virginia Woolf? invites audiences into the home of married couple Martha and George over the course of one drunken night. Arriving home after an evening out, George is surprised to learn that Martha is expecting guests, but welcomes young lovers Honey and Nick in for a nightcap anyway. The perfect hosts, drinks are offered while stories and secrets are shared, but what would a party be without games? Though the games played at this particular gathering may have more sinister motives than initially meets the eye.

It is quite a lengthy play, comprising three acts that come in at just under three and a half hours (including intervals) but the time goes relatively fast as a testament to both the writing of Edward Albee and direction from Marianne Elliott. To speak first about Albee’s writing, my previous experience with watching a production of the story in the West End nine years ago firmly cemented it as a firm favourite of mine. The deceptive slow-burning nature of the story sets up the intrigue instantly, as the nature of the two couples starts to become apparent. However, what is most thrilling about Albee’s writing is in the way you start to question everything, never knowing what is truth and what is fantasy. As revelations contradict themselves and start to come around again in a full circle manner, the truth will come up and the payoff is sure to knock you off your feet.

At the heart of the story is a warring couple with a fondness for games, with each of the three acts changing the tone slightly. An early line in the play references laughter subsiding and this foreshadows what is about to take shape, with a largely humorous and seemingly inconsequential opening act setting up a more manipulative second act before the play becomes its most uncomfortable in its concluding act. There is still laughter to be found but it becomes less riotous as the play progresses, with some of the laughter perhaps more nervous than anything else, or reacting in shock at some of the increasingly vicious and cruel comments that are uttered. My one criticism of this particular production is it doesn’t differentiate each act as clearly as the previous production I had seen - though it may be unfair to compare it to what I have seen before, I appreciate the distinct change in each Act when looking back at Who’s Afraid of Virginia Woolf? in its entirety, and certain choices merged all three together this time around which bodes well for the argument of cohesiveness, but felt ever so slightly less impactful than I would have liked.

That said, Marianne Elliott has plenty of opportunities to remind everyone what a wonderful and creative director she is through the choices in this production. Accentuating the intimacy of the piece heightens the intensity of it all. With the four characters on a fairly small circular stage in the centre of the audience, there is nowhere to hide, allowing for every emotion, reaction and mannerism to play out in remarkable fashion. The use of the space is especially thrilling, with characters prowling the edge of the stage, almost threatening to fall on to audience members in the front row - it is this unconventional threat that adds to the uncomfortable nature of it all, and just to reassure anyone before booking their front row seat, you are completely safe.

What Elliott does exceptionally well here is understand the space at @SohoPlace better than most productions that have gone before it. The theatre itself is wonderful and unique in its configuration and abilities, with the selling point that the majority of seats are no more than six rows away from the stage (even the balconies feel impressively close). Elliott uses this to its full potential, including a subtle and slow revolve that plays up to this theatre's strength of no seat having a restricted view. Elliott knows that entering Martha and George’s arena is dangerous, and allows the audience to feel part of that as it moves in front of them. It could almost be said that this production feels immersive, only the difference is it allows you to sit back and enjoy the escapism theatre can offer at its best in a beautiful marrying of differing worlds. Elliott knows the heart of the story and ultimate success of the production rests in the performances from her cast, and that is where her direction truly shines, making full use of the four exceptional talents at her disposal.

Billy Crudup is becoming a regular fixture in the West End, returning for his third play in quick succession following the outstanding Harry Clarke and divisive High Noon. As George, he is back to his best in an outstanding performance full of versatility. At times commanding and giving the sense he is pulling the strings, there are other moments where George is no longer in control and lashes out in response. There is an erratic and dangerous side to his characterisation that shows signs of him being unhinged, which Crudup relishes in displaying. Be it the lighter, comedic moments or those that prove far more unsettling, Crudup delivers a wonderful portrayal of a complex character.

The level of performance on display in this production is among the most consistent and impressive I have seen in quite some time, making singling out a standout amongst them near impossible. However, Gillian Anderson may just edge it with her faultless and heightened characterisation of Martha. Over the course of the play, Anderson gets the chance to showcase her wide range with flirty and fun moments eclipsed by a harrowing scene near the play's climax. This is where Anderson is at her best making an inconsistent and even unlikeable character feel all the more authentic, and allowing the audience to feel empathy for Martha even after everything she has done. In terms of stage performances, this is Gillian Anderson at her very best in one of the most memorable performances of the year.

What elevates this production of Who’s Afraid of Virginia Woolf? is the chemistry shared between Anderson and Crudup. Martha and George may not be the most loving of couples, with their war of words getting nastier by the minute, but there is an undeniable electricity between the two actors portraying them. This works both in their favour and against them, as the play is undoubtedly at its best when the two are on stage together. However, this also means that when one of them is absent, their presence is missed, with one fairly long scene in the second Act without Anderson leading to a rare dip in pacing.

The two other actors sharing the stage more than hold their own, both delivering standout moments. Josh Dylan proves to be a catalyst for the action for both Martha and George, with moments of confusion, submission and assertion. His partner, Honey, is wonderfully played by Phoebe Horn who gets one of the strongest performances of the play when the seemingly fun-loving character gets a rare opportunity to show more depth, brilliantly realised through Horn’s acting. And if there is one moment that I am going to remember, it is Horn’s repeated cries of “VIOLENCE!”.

This production of Who’s Afraid of Virginia Woolf? is the perfect example of the brilliance of all involved. From Marianne Elliott’s sensational direction to the four phenomenal performers bringing the story to life, to the brilliance of @SohoPlace as a venue. Given the decor of the venue itself, it is fitting to say the stars have really aligned in this production. Though it may not be quite perfect, it comes pretty close with only the most minor of criticisms preventing it from achieving that elusive fifth and final star. What truly impresses about this production is how it uses the intimacy to increase the intensity, making for a raw and often uncomfortable watch. I was afraid to see how this story would translate in such an intimate setting, but the only scary thing about it is how terrifyingly good it is.

Who’s Afraid of Virginia Woolf? plays at @SohoPlace until 19th December. Tickets from https://sohoplace.org/shows/whos-afraid-of-virginia-woolf-2026/

Photos by Johan Persson