I used to love reading and hearing people review theater and movies in the media. Sadly, such reviews are rare, given that journalism seldom provides for the local scene. So, let me take a crack at reviewing a stunning, adult show burning up the stage at Chattanooga Theatre Centre, Who’s Afraid of Virginia Woolf. I was shocked that the Theatre Center picked this show to represent theater in the 1960’s because of its strong adult content. However, I could not wait for opening night when I saw the direction was given to Suzanne Smartt, who has long been a gift to the local theater scene on stages of all sizes and even local schools. I expected a night of surprises and illumination as she worked with Josh Reuben. I was not disappointed.
Smartt, Reuben and Windy Tippens deliver sizzling word-play and smoldering sorrow and romance all the wicked night long. Suzanne Smartt has unveiled this masterpiece for me, mid-century twice-time Tony-Award-Winning play I’ve known and loved. Smartt and the cast expose a fraught, darkly layered story which with fresh revelations uses the humor in the script to describe the pain of a middle-aged couple and the young couple dealing with the crushing results of loss and grief.
Josh Ruben masterfully dominates the CTC stage (CTC Star Turn Award Winner 2023). As George, he controls the drinks, and the timbre and tempo of the night’s "party games.” A thwarted genius and humdrum University History Professor, George is a jovial guy, long-suffering, yet deeply in love with his abusive wife Martha. The striking fury and love expressed by Wendy Tippins as the drink-swilling, obnoxious party-animal Martha (equally as brilliant as Violet in last year’s Suzanne Smartt hit August Osage County) flings her sexy wicked-words as sport, any outrageous thing to get a rise out of George. Their guests, also dealing with sorrow and self-deception, are powerful characters stealing scenes and revealing their lives one story or uncomfortable giggle at a time. Ford Knox (Nick) and Lindsey Wills (Honey) force you to watch as they spiral from “the good kids” into their pain in a marriage similar to, just not as long as, the older couple.
If, like me, you think you’ve seen this play, be prepared. In the 50 years since I first saw it on stage, I have never experienced the turbulence, the psychological depths, the searing romance, and sultry sensuousness illuminated by this remarkable, ground-breaking direction from Suzanne Smartt, who has somehow found the here-to-fore missing love in Virginia Woolf,