From The City Paper 02/05/2004:

Rep's 'Woolf' bites hard on raw emotions
Rep's skillful staging of Albee classic is a testament to the durability of a great play
By LEO SOCHOCKI, Lifestyle correspondent

Edward Albee's Who's afraid of Virginia Woolf? stands as the quintessential portrayal of psychological abuse. Albee's Pulitzer Prize winning play is every bit as controversial as it was in its 1962 debut. As naturalistic as the play is, and for all the controversy its strong language and sexuality caused 40 years ago, the wonderful irony is that Who's afraid of Virginia Woolf? is a story of illusions and how they can be more devastating than reality. The point is driven home in a powerful staging of the work by Tennessee Repertory Theatre in TPAC's Johnson Theater.

Most audiences are familiar with the 1966 film starring Richard Burton and Elizabeth Taylor. The notorious couple defined the characters to the point that rumor holds the making of the film was the impetus for their ensuing divorce. As good as the film version may be, the stage play offers infinite possibilities in the interpretation of the text and the characters. Artistic Director David Grapes plumbs every single one of them and does it in such a rapid-fire manner that the audience leaves in what can only be described as post-traumatic stress. The elevator ride from the TPAC basement to the Deaderick Street level was utterly silent. Those who have not seen this play performed live should not miss the opportunity of seeing these familiar characters in their native habitat.

In this outstanding production we are treated to a life-affirming interpretation of George and Martha's relationship. Through all the vicious repartee, we see that once upon time this couple worked and in a very weird way, still do. At the end we think they just might survive the consequences of the evening's catharsis.

Pam Wild and Mark Cabus give us a Martha and George who are intelligent, witty, urbane and in the final offing, utterly vitriolic. The collective portrayal leaves a path of psychological destruction that offers only the tiniest glimmer of hope. This is exactly the way the show and the characters must be portrayed. The audience despises and simultaneously identifies with every twisted barb. The final moment becomes a vision of redemption.

Misty Lewis and Grant Goodman offer an equally agonizing portrayal of the younger couple, Honey and Nick. Their deeply realistic presentation provides a rich counterpoint and contrast both by their conventionality and by their lack of George and Martha's self-awareness.

Thank God Albee interspered a good deal of humor. The levity serves as a momentary respite from the shows serious nature. Grapes wisely chooses not to rely on the humor by playing it too strongly. The end result is totally devoid of pandering sentimentality. We look at the couples and through them ourselves in stark realism. As good as you might remember the film portrayals, this show is better. The intimate nature of the space and the events of this production are far more personal and powerful than film can offer. Shows of this caliber are the very reason we need theater in the first place. While this play is not for the fainthearted, it's hard to imagine a more gripping presentation of the darker side of the human condition.

The production's only flaw, and its important and not easily dealt with, is the Johnson Theater's acoustics. For God's sake invest in some decent area mics. Theater, with as intricate dialogue and actors offering such nuance laden performances, deserve to be heard.