Who's Afraid of Virginia Woolf? -- Edward Albee's Scathing Marital Drama
* Additional fees apply.
All offers for Who's Afraid of Virginia Woolf? have expired.
The last date listed for Who's Afraid of Virginia Woolf? was Sunday October 6, 2013 / 6:00pm.
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By the early 1950s, Welsh writer Dylan Thomas was one of the most famous poets in the world. Probably best known for his holiday work, A Child's Christmas in Wales, he wrote such unforgettable verses as "Do not go gentle into that good night. / Rage, rage against the dying of the light." Sadly, however, Thomas had a problem. He was an alcoholic who was steadily drinking himself to death. Dylan remembers the last few years of his life, a time when he was at his most celebrated, traveling between the United States and Wales on an extended poetry tour, while simultaneously sinking deeper into darkness. Learn More
This production is suggested for ages 16 and up; it contains strong language and some sexual themes.
About the Ticket Supplier: Always-Already Productions
Always-Already Productions started out like any other budding graduate school friendship: brains deprived of "for-fun" literature and hard liquor. Two treasured plays were exchanged over tater-tots and whiskey [and gin]. Out of the liberated conversation--occasioned by Pirandello's "To Clothe the Naked" and Albee's "Who's Afraid of Virginia Woolf?"--came the cocktail-coaxed conclusion, that there was nothing stopping us from staging a production of our own. Having a strong mutual appreciation for theatre's ability to be experienced both as performance and as text, we decided that we would try to draw on whatever collective experience we had, and attempt to navigate a balance between the two. After some preliminary investigations into the general progression from bar to stage--presumptuous naïveté notwithstanding--Always-Already Productions was born, and we decided once and for all that our inaugural production would be Edward Albee's pièce de resistance.
Though the history of this company is still (always-already) being written, it was founded on the principle that the text is what provides the structure and framework upon which its staged manifestation is molded. We believe our textual approach in shifting medium allows for a unique interpretation and application of both dialogue, as well as stage directions/imperatives.