'Who's Afraid of Virginia Woolf' is a play rich in intensity and emotion. It is another one of those plays that has very demanding text, in that it's wordy and must not be easy to remember ('Rosencrantz and Guildenstern are Dead' and 'A Long Day's Journey into Night' are also examples of this), but it is very powerful drama, with vividly drawn characters that stay in the mind as much as the drama does. Not comfortable to watch and leaves the viewer exhausted, but those who don't know it should get acquainted with it.
Like the production of 'Rosencrantz and Guildenstern are Dead' from the same year as part of the always fascinating National Theatre Live series, this production of 'Who's Afraid of Virginia Woolf' is absolutely brilliant. And when it comes to productions of the play it doesn't get much better than this production. Another one of the best of the 2017 National Theatre Live productions and among the best of the whole series too, a series with lots of great productions in it with the odd disappointment along the way.
The simplicity of the production values is tasteful and doesn't look ugly at all, neither does it distract. Actually liked that it wasn't a flashy production with overblown spectacle that would have jarred with and swamped the drama. The simplicity in fact complemented the dialogue and drama and allowed both to have full impact. The editing is never too flashy and neither does it feel too restricted. With the way the production was filmed for the live screening, one really does see the power of what is going on on stage and you see things, big and little, that is not noticed in the theatre, another remarkable thing about these live cinema screenings.
And both certainly do have impact. The dialogue of and Martha and George and their back and forth shocks and moves, while there is some levity with Honey. If the viewer feels uncomfortable while watching and is exhausted emotionally by the end, that is not a bad thing despite how that sounds because considering the play itself that's how it should be. The tension is dynamite and in equal measure too is the pathos, which is heart-wrenching. The drama always grips and becomes increasingly like one big emotional roller coaster that one doesn't forget for a long time, despite the length it had me riveted and it didn't feel long-winded.
For that to work, the production would need a good cast. The cast here are more than good, for Luke Treadaway to be the weakest of the quartet and still be excellent says a lot about the high quality of the acting. Imogen Poots is hilarious as Honey (the smallest role of the four but that doesn't stop her from being a scene stealer) and never grates. But burning longest in the memory are Conleth Hill, a remarkably nuanced and deeply felt portrayal, and the tour de force that is Imelda Staunton providing most of the production's intensity and emotion. Their chemistry together is on fire throughout.
Concluding, another brilliant production. 10/10
Like the production of 'Rosencrantz and Guildenstern are Dead' from the same year as part of the always fascinating National Theatre Live series, this production of 'Who's Afraid of Virginia Woolf' is absolutely brilliant. And when it comes to productions of the play it doesn't get much better than this production. Another one of the best of the 2017 National Theatre Live productions and among the best of the whole series too, a series with lots of great productions in it with the odd disappointment along the way.
The simplicity of the production values is tasteful and doesn't look ugly at all, neither does it distract. Actually liked that it wasn't a flashy production with overblown spectacle that would have jarred with and swamped the drama. The simplicity in fact complemented the dialogue and drama and allowed both to have full impact. The editing is never too flashy and neither does it feel too restricted. With the way the production was filmed for the live screening, one really does see the power of what is going on on stage and you see things, big and little, that is not noticed in the theatre, another remarkable thing about these live cinema screenings.
And both certainly do have impact. The dialogue of and Martha and George and their back and forth shocks and moves, while there is some levity with Honey. If the viewer feels uncomfortable while watching and is exhausted emotionally by the end, that is not a bad thing despite how that sounds because considering the play itself that's how it should be. The tension is dynamite and in equal measure too is the pathos, which is heart-wrenching. The drama always grips and becomes increasingly like one big emotional roller coaster that one doesn't forget for a long time, despite the length it had me riveted and it didn't feel long-winded.
For that to work, the production would need a good cast. The cast here are more than good, for Luke Treadaway to be the weakest of the quartet and still be excellent says a lot about the high quality of the acting. Imogen Poots is hilarious as Honey (the smallest role of the four but that doesn't stop her from being a scene stealer) and never grates. But burning longest in the memory are Conleth Hill, a remarkably nuanced and deeply felt portrayal, and the tour de force that is Imelda Staunton providing most of the production's intensity and emotion. Their chemistry together is on fire throughout.
Concluding, another brilliant production. 10/10
