Who's Really Afraid of Virginia Woolf at Boston's Publick Theatre?
Tina Packer Says On With the Show
By: Charles Giuliano - Sep 30, 2009
The Boston Globe's blog reported on Tuesday that the Publick Theatre production of "Who's Afraid of Virginia Woolf" scheduled to open on Thursday, October 1 had run into a conflict with the author Edward Albee. The now 81-year-old playwright rejected the theater's licensing request at the last minute.
"The unexpected 'no'' shocked Publick Theatre artistic director Diego Arciniegas, who told us (The Globe) yesterday (September 29) that this is the first time in his career that a playwright has denied his request to perform a work. 'We were told that Mr. Albee is in negotiations with a larger theater company for 'Who's Afraid of Virginia Woolf.' The thing that I'm not clear on, that I don't understand, is that up until a little over a week ago, we were led to believe that the rights were available.' According to Arciniegas, Albee had made an unusual request to see headshots of the actors before agreeing to license the show. Arciniegas said he met Albee's demand and had no reason to believe there might be a problem until he got word of the rejection. Arciniegas has e-mailed Albee a plea to change his mind. If the writer can't be swayedÂ… Publick Theatre faced a glitch imposed by the author."
That was yesterday. Tina Parker, the founding artistic director of Shakespeare & Company in Lenox, Mass., who is cast as Martha was a bit frazzled but upbeat and relieved when she called early this morning to inform me that the conflict has been resolved and that the play will open as scheduled on Thursday.
We asked Packer for insights to Albee's objections. "He didn't like the fact that we had started rehearsals without his approval" she said. "That's what triggered it. There was a miscommunication between Samuel French which owns the liscensing rights and the Albee Foundation."
Packer who is always both good natured and remarkably frank told me to advise readers to hold off on coming until at least a week to ten days into the run (through October 24). The licensing issue had caused a ten day long disruption in the rehearsals for what, under any circumstances, is an intensely difficult and demanding play.
"I have been riding a roller coaster" she said with both gravitas and a deep throated laugh. It is her usual approach to navigating the rough going of some 40 plus years in the theatre. At a time in her remarkable career when she might claim to have seen it all Packer has been thrown a new curveball. Asked is she had spoken with Mr. Albee she stated that this time "I am not wearing my producer's cap as I have at Shakespeare & Company. I am wearing my actor's cap and trying to get Martha on stage. In this case I am just an actor."
With passion she described how "Half way through the rehearsals we had no idea whether or not what we were working on would be put up. That is very disruptive and demoralizing."
Yesterday, during intensive negotiations, Packer and the cast were in the midst of the tech rehearsals for opening night. Trouper that she is Tina already had a plan B to put up a version of her compilation "Shakespeare's Women" using "Virginia Woolf's" male cast members.
Packer has been working on revising and updating the assemblage of Shakespeare's characters. It is anticipated that she will open next season in Lenox with the work which is in process. She was willing to fast track a version of the production rather than see Publick Theatre go dark for a key month of its season. Now we may anticipate a less rushed production of "Shakespeare's Women" next season, assuming there is not a last minute glitch with the author.
With some irony I discussed with Tina that this conflict and its coverage in the media may fuel a demand for tickets. It has clearly resulted in focusing attention on what was already the most anticipated production of the fall theatre season in Boston. Taking on Martha, shortly after stepping down as artistic director of S&Co., represents a reorientation on Packer's career as a performer. It is typical of Tina to make that move with one of the most demanding roles in contemporary theatre. This is a huge leap from her signature role as the charming and whimsical "Shirley Valentine" or even her Cleopatra a couple of seasons back.
Even before the conflict with Albee and its collateral stress, during an extensive interview last summer, Tina told me how taking on Martha scared the crap out of her. "I am scared stiff. With Shakespeare I have the form and technique."
We discussed the challenges of the role. As an actor, just where does one dig into the psyche to find such characters? Just what kind of human toll is involved? What are the risks and occupational hazards? What of the issue of the age of Martha? Elizabeth Taylor (born 1932) was 34 when she played Martha. Tina, who is 71, seemed taken aback by these concerns which revealed her misgivings. (Interesting that Albee requested head shots of the actors.)
"The question is can I play it?" she responded. "The guy who runs the theatre (Diego Arciniegas) asked me to do it. I think it would be stupid not to take on the challenge." Regarding Elizabeth Taylor she responded that "I saw Uta Hagen perform Martha on stage. It is the best play by Albee but I don't understand a lot of it. Like the stuff with the child. The characters have a desire to destroy each other. It is one of the reasons why I'm scared and makes me think I shouldn't play the bloody thing."
That was then and what about now? We wanted to know if she is still afraid of Virginia Woolf? As an artist this is surely the greatest challenge of her career. "She's (Martha) an emotional wreck" Packer said. "And I'm an emotional wreck."
By every standard Packer is a "classical" actor deeply rooted in Shakespearian technique. But if she takes a bit from method acting I suggested that all the recent agita just might be the right ingredient to perform that psychic wreck, Martha.
Recently I finished Laurence Olivier's wonderful and insightful book on acting. He discussed how he learned that even with the most despicable and seedy characters such as Richard lll, the Nazi dentist he performed in "Marathon Man," or his magnificent Archie Rice in Osborne's "The Entertainer," it is necessary to "love" the character in order to perform him. Explaining Olivier's thesis I asked Tina if she has come to "love" Martha?
"Right now I am flying by the seat of my pants" she said. "I'm scared of Martha. Not scared of the part or performing her but scared of her. She's so mad. Things (rehearsals) are going well but we have lost so much time. What else can we do? We are all deeply upset. The added stress has played its part. It's an emotional role but I am not frightened of the part. She can't distinguish between truth and illusion. For 21 years she and George have been playing this game of what is real and what is not. As to if I 'love' Martha I think I understand Martha which is as good as liking her. Do I like my Martha? She doesn't like herself. She actually says 'I disgust me.' I understand her but I need to get over the chaos. The chaos of the last ten days has made it worse."
Time is running out with just one more day to regain traction for the opening. Of course the critics will review what they see on stage. There will be no coverage of the chaotic back story and they won't return to update reviews when Packer and the cast have time to settle into their roles a week or so into a short run. Bear in mind that George and Martha are the most savage and destructive couple of contemporary theatre. It will be Tina's challenge for the coming 24 performances to tear the throat out of George when they are not playing "get the guests." It should make deliciously riveting theatre.
Fair warning; don't miss this one. "Virginia Woolf" is sure to be the hot ticket of the season. Logic dictates that the show will be held over. But Packer is already committed to perform another Martha in England. Don't be surprised if this production eventually is presented at Shakespeare & Company. That is if George and Martha don't kill each other. And Mr. Albee may still have something to say about that.