Plenty of shots are fired in the late, great Edward Albee’s classic drama, WHO’S AFRAID OF VIRGINIA WOOLF. Middle-aged couple George and Mildred marriage is a war zone and they invite another couple, Nick and Honey, over to unwittingly join them on the front line.

This latest revival of this oft performed Albee work has been put on by the Theatron Group.

A good creative team comprising John Pryce-Jones’ raised platform set of George and Martha’s 1960’s living room, Martin Kinnane’s sharp lighting design, and Alistair Wallace’s subtle sound design create a very distinct world for what is a stellar cast to weave their spell in. This small troupe of players genuinely seize upon the ‘meaty’ roles which Albee has gifted them.

Two very experienced actors play the leads.

Deborah Galanos makes a frightening, ball breaking, vile Martha cutting her husband down mercilessly at every opportunity.

Nicholas Papademitriou’s George starts off rather meekly but soon dishes out as much vitriol as he receives.

Two very fine young actors  play the invited, no better put, ambushed couple.

Christian Charisiou is George’s fellow more mild mannered academic, Nick, who finds himself drawn into the feud and then reveals his own rather caustic and ambitious nature.

Adele Querol impressed greatly, giving a performance of many different shades, as the delicate, nervy, strange Honey who is completely thrown by George and Martha’s violent bickering.

At the end of the night, Nick and Honey have exited stage left in a great rush, George and Martha are kneeling down, centre stage, in a quivering mess, and we, the audience, are about to leave feeling similarly dissipated.

Recommended, this current revival of WHO’S AFRAID OF VIRGINIA WOOLF is playing the Greek Theatre, Building 36, Addison Road Community Centre, 142 Addison Road, Marrickville until 17th December. Performance times – Wednesdays to Saturdays at 7.30 pm and Sundays at 5 pm with one Saturday matinee performance at 2 pm.


  1. There’s often a problem when actors cast themselves in shows. Although I thought this production was good, it was not excellent. There is nothing Greek about George and Martha, nor Honey and Nick. Call me “racist”, but these roles need to be played by Anglo Celtic or Anglo Saxon actors. I just don’t think that the actors fully get the culture that they are playing; probably because they were brought up with very different rhythms and notions. George should look like a typical Anglo-Celtic/ Anglo-Saxon university professor. There’s no getting away from his Greek look in this production, and for me – as wonderful as the actor playing him was, I think this group of actors should really have chosen another play. I think they’d be amazing in a play that suited their actual casting; as opposed to doing a play simply because they want a bite at two of the most sought after roles for actors (ie; George and Martha). Frankly I’d prefer to see these two actors in Medea. Why not do what is natural to your casting?

    1. Totally disagree. Brilliant actors can play brilliant roles regardless of where their parents were born. Honestly, Medea? Actors of Greek heritage should play in Greek plays? Are you aware that Albee considered the play a exploration of “catharthis” and revelation influenced by Greek Tragedies. Its inspired casting. Also dont want to hear another word from reviewers who pronounce that plays produced by actors as somehow lesser, ego pieces. Tell that to Cate Blanchett who used her tenure to repeatedly cast herself in roles she yearned her and everything Kenneth Branaugh has EVER DONE !! Its just snobbery and ignorance to dismiss proactive actors. Lets support them and despair that someones heritage may rule them out from being cast in commercial productions of this play. Deborah Galanos and Nicholas Papademitriou are two of our finest and bravest actors and if you are unaware of their prestige then that is black mark against the industry.

      1. absolutely agree with this. and by the way, when do anglo actors every get bagged for being French in a Feydeau farce, or playing Greeks in a Greek tragedy, or playing spanish roles in a translated Lorca, or a Chekhov for that matter. Indeed ANY non-Anglo text should be the domain of the non-Anglo actor in that case.

  2. In this day and age this kind of response is basically uninformed, antiquated and just plain dumb. You really should look at your view of the world and see what other theatre companies around the world are doing and how they are casting all manner of works. There is no place in our artistic society for people with opinions such as yours. You and your perspective are pathetic and ignorant.

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