Zachary Quinto and Calista Flockhart chew the scenery with booze-soaked abandon.
Albee’s play is a familiar dance.
Calista Flockhart might seem an unusual choice for Martha.
Jeff Lorch
Here, Martha is far more glam than the blowsy harridan many actors interpret her as.
Zachary Quintois a superb match for her.
Nick and Honey are the quieter parts, but Phillips and Carrero make meals of them all the same.
Jeff Lorch
His cocksureness oozes from every pore, so pervasive we could choke on it.
When Martha’s seduction takes him down several pegs, his simmering entitlement and rage glimmer just so.
Honey is, perhaps, the play’s secret weapon.
Jeff Lorch
The dutiful wife who is not even granted a name, merely Nick’s moniker of “Honey.”
Greenberg has brilliantly staged this production, consistently placing Honey on the edge or center of the tableau.
Her drunken dozing or confused, rapt attention draws our eye while the rest of the party forgets her.
This production never forgets that, its casual cruelty both sharp and poisonously funny.
Scenic designer Wilson Chin has created a luscious, overstuffed living room upon which the drama unfolds.
It’s shoved against the wall, but remains the focal point of the action, make no mistake.
In contrast, Phillips is a swaggering frat boy, his confidence growing as his fuse shrinks.
Whereas Martha is the booziest broad, her consumption pushing her from provocateur to needy, vindictive child.
Because their game isn’t about who wins or loses, it’s simply about playing it.A
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