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"A hilarious parody…A wild and wonderful romp that will make your head spin (as well as your belly ache from laughing)…Scelsa’s wild parody is both an affectionate homage as well as a blazing assault on Albee’s classic…Scelsa wrote the play expressly for ERS ensemble members, whose roles fit like kid gloves...Directed with panache by the audacious and adventuresome John Collins, who fuels the production’s boundless energy and unpredictability." Full Review
“A take-no-prisoners approach to satire...Theatergoers acquainted with Albee’s play will savor this production’s dizzy echo chamber of words and visuals...Those unacquainted with the play’s literary arcana can sit back and watch the cast riff jazzily on Scelsa’s punch-drunk dialogue...If 'Everyone’s Fine' is partly a rebuke to what male playwrights do to their female characters, it also bubbles with a love of theater at its most brazenly theatrical that Albee would surely recognize." Full Review
“Scelsa's witty, trenchant parody of Albee's play packs a thesis-worth of critique on the way men perceive and portray skewed images of women through the distorted lens of the American patriarchy...At its best when it's riffing on Albee's work, rather than concocting its own scenes...The humor tends to subside in those moments, but otherwise, director John Collins does a terrific job of creating a parodic Albee universe.” Full Review
“A mass deposit of theatrical allusions and styles, postmodern textual strategies and pop trivia...Scelsa’s script is a glitter bomb of meta spoofery and nested references...As ‘Everyone’s Fine’ spins into a second and third act, it grows increasingly fragmented and weird...John Collins’ springy, athletic staging lands each hyper-literate joke while not stinting on the sight gags...Scelsa shows you can love Edward Albee, while giving him a good hard spank over your knee." Full Review
"All this antic cleverness becomes slightly dizzying, but Collins’s staging remains consistently hilarious throughout a brisk 75 minutes. And the cast navigates Scelsa’s zany text with deadpan flair, particularly McNamara whose Martha combines the brains of Diane Keaton with the brawn of Glenda Jackson…The famously controlling Albee is probably spinning in his grave. But Collins insists in the programs that there’s a lot of love for him here." Full Review
“A hilarious, if perhaps overdone, parody...Scelsa allows the characters to speak the subtext in hilarious ways, transforming Albee’s play from a funny, serious drama to a raucous comedy. The play succeeds most when Scelsa carefully toes the line between parody and homage...Entire cast is excellent at imitating these familiar characters and commenting on their absurdity...Eventually, the play spins out of control and goes out of its way to comment on its source...A good laugh.” Full Review
"a vicious and hysterically funny conversation exploring notions of truth and reality and the nature of fiction…The lightness of the interrogation, though, and the messy overlap of arguments and ideas within, largely prevent Ms. Scelsa’s points from taking root in any serious or impactful way…This feels ok and forgivable, though, because of the intelligence of those ideas and arguments, and the ambition of the overarching enterprise—its collective zaniness well-captured by director John Colli... Full Review
“A raucous re-imagining of Albee’s ‘Who’s Afraid of Virginia Woolf?’...Collins easily balances the Sixties sexual revolution Albee honed in on and the raw recent revelations of predatory behavior in the workplace, academia included. He clearly encouraged the cast to explore every comedic possibility, which works because the source material is all about mayhem...Provides an Epilogue...It’s entirely probable and appropriately messy, just like George and Martha.” Full Review
"Rapid-fire 75 minute farce complete with sight gags, slamming doors, and slamming drinks. The more you know about the original, the more you’re likely to appreciate this effort. It's an odd homage, as well as a deep dive into gender studies...Proves overly complicated in its attempts to liberate its female protagonist amid a barrage of cultural and literary shout-outs...Still, director John Collins and scenic designer Louisa Thompson supply some visual yuks." Full Review
“Scelsa’s frenzied satire, directed in the same spirit by Collins himself, features feminism mixed with farce mixed with a literary rollercoaster ride, with the base ingredient of Albee’s chowed-down source material...Even if the play’s own intentions are cloaked in clouds of parody and satire, for its first two acts its humor and serrated edges command our attention and laughter...Then it heads towards a finale - that, to this spectator at least, made little sense." Full Review
“In this broad but intelligent comedy, the actors don't have to worry about subtext...These people are nuts and we all know it. In less imaginative hands, this would leave the play with no place to go. But Scelsa broadens the satire by turning it into a treatise on female empowerment...The best audience is probably a group of twenty-something English majors...For others, the play may seem like a very good SNL sketch that goes on a bit too long.” Full Review
“The opening scenes are terrific, a smart, hysterically funny reinterpretation of Albee’s original...Starts out like a wild and raunchy, NSFW Carol Burnett Show skit, with clever wordplay as the characters explore sexual boundaries, self-oppression, and the lowly human condition...But the play soon devolves into too much self-parody and repetition, going way over the top...A slash-fiction version that is unable to sustain its seventy-five-minute length.” Full Review
"An abundance of quips, clever remarks, and innumerable references to drama and contemporary culture make for an engaging enough spectacle, especially for college graduates of a certain type; I confess I felt lost at times amidst all the references...John Collins’ sharp, fast-paced direction, and the cast’s energetic performances keep the mood lively, the audience laughing, and the time flying. Yet in the end, the play leaves one unmoved." Full Review
"Less a deconstruction than a demolition derby...For roughly the first quarter of its 70-minute running time, the play is very funny...Scelsa’s writing is witty, the adept actors deliver amusing cartoons, and Collins’s staging features clever metatheatrical sight and sound gags. But zany parodic energy is hard to sustain, and 'Everyone’s Fine with Virginia Woolf' slips into repetition...The play is provocative, but where does all this send-up and takedown leave us?” Full Review
"One would have to stay on the surface of the text to find misogyny and patriarchy as significant themes of the playwright or his male characters. Apparently, playwright Scelsa has chosen to identify those exact themes in her deconstruction of Albee’s play...Scelsa’s retelling is, at times, funny...See ‘Everyone’s Fine’, if you enjoy riffs of classic American plays and arcane references to those plays. Refrain if you are seeking a thoughtful deconstruction of ‘Who’s Afraid of Virginia Woolf.'” Full Review
"I have mixed feelings…about the effort, some of which is incomprehensible while some is quite funny, if not as thought-provoking as its creators might have intended…There's really no way to appreciate Scelsa's take on 'Woolf' without close familiarity with its plot and characters…played as steroid-level farce…Whatever sociological points Scelsa wants to make are buried in tons of exaggerated behavior…The actors acquit themselves well at this…pseudo-academic literary silliness." Full Review
“The gags come flying fast and furious but few of them land...Barely sustains its comic energy through its brief running time. Despite impressively committed performances from the ensemble, the piece ultimately feels like a Carol Burnett sketch with intellectual pretensions...The comic riffs seem random...There's no faulting the ensemble...But their efforts go for naught in this ill-conceived twist on a classic that already cleverly comments on itself.” Full Review
“An incoherent, amateurish, arguably homophobic slog…By the middle of this play little is making sense…Scelca’s preferred device for critiquing Albee, in this proudly feminist reclaiming, is to critique him for being a gay man writing about women by caricaturing other gay men writing about women…Sex-obsessed sophomoric romp through literary allusions, providing occasional entertainment but no insight.” Full Review
“It's not just the general absence of wit, although the parade of sophomoric semi-jokes makes for some notably heavy going. Collins' production relies on crude bits of staging...Any five minutes of Albee's play are funnier than the totality of ‘Everyone's Fine With Virginia Woolf’...Substandard performances...Has but one point to make, which it does with thudding repetition...Plays like a SNL sketch that has unaccountably been allowed to fill the entire time slot.” Full Review
“Were Albee alive today, he likely wouldn’t be so fine with this send-up of his play. Rightly so…What Scelsa has in mind to do with her 75-minute insult is fairly clear. While declaring in a program note that she greatly admires the work—with admirers like these, Albee doesn’t need detractors—she does quarrel with some of its elements… Whatever Scelsa is doing, it isn’t humorous. This is true of all the loudmouth carryings-on that director John Collins does nothing to discourage.” Full Review
“The promise of a wry send-up very quickly descends into pretentious pointlessness…A numbing and unfunny 70 minutes…Made for a campy late-night diversion at an East Village night club in the early 1980’s but as a full-fledged contemporary theater piece it is woefully negligible…It is difficult to imagine that Albee who was renowned for his prickly protectiveness of his works would not have reacted publicly to this hollow meta exercise that is a complete waste of time.” Full Review
See it if You like feminist, absurdist, hilarious, modern, madcap takes on classic plays. This is not your grandpa’s Albee.
Don't see it if You prefer your classics classic. This was deliberately anachronistic and wild.
See it if This prod. is avery funny parody worthy seeing.The writing is great, overall a great production well directed with a very talented actors
Don't see it if You can’t stand overdone loud screaming scenes
See it if Scelsa's corrosive, funny & highly po-mo send-up of Albee's ...Virginia Woolf w/ bullying feminist Martha "woman-splaining" with a vengence
Don't see it if Author looses narrative thread in last 15 min w/George (ERS vet Vin Knight - brilliant) morphing into a drag Judy Garland singing love songs
See it if you know the play Who's Afraid of Virginia Woolf. It is a lot funnier if you realize what has been changed for this production.
Don't see it if you are unwilling to skim the original play or at least the Cliff notes.
See it if you like ERS shows... if you like VERY broad comedy... and if you also have a deep knowledge of the theatrical canon
Don't see it if you don't like experimental, absurdist, satirical, broadly comic works... not everything makes sense... but you'll probably have fun!
See it if If you know Albee's play and are ready for a zany spoof that also tackles other cliches of theater & film. If you liked Collette Richland
Don't see it if You dont know or didnt like the Albee play. Want a logical, explicable succession of events, get impatient if you dont know what's going on
See it if you like funny high-energy satires about how women are portrayed by Albee (and also Tennessee Williams) with many literary references
Don't see it if want satire that is more subtle and not SNL skittish or you don't like the work of Elevator Repair Service; don't like narrators to sum up
See it if you're up for a silly parody, if you into skewering classic theater orif a feminist take-down piques your interest.
Don't see it if you want your serious theater to be serious, if you hold the classics as sacred, or if you mind a little camp.
See it if You're a theater nerd and enjoy other theater nerd riffing on the classics. Insanely talented cast and great theater space.
Don't see it if You're not familiar w Whos Afraid of Virginia Woolf or are nervous about trying to keep up
See it if You are interested in an update of the Albee play, with added elements from Twilight. Fast-paced and hilarious.
Don't see it if You don't like funny plays or references to same-sex relations. Knowledge of Albee adds an extra layer, but it could be enjoyed without.
See it if You're ready for an outrageous and hilarious feminist terror attack on the patriarchy as represented by Albee's "Who's Afraid..." Delicious!
Don't see it if You're an old stick in the mud who doesn't realize that the late Edward Albee would have secretly approved of this and enjoyed it.
See it if You like smart absurd comedies. Over the top yet they reign it in and actually leave you with an explanation of it all.
Don't see it if You don’t like farce or just completely ridiculous takes on classics, in this case, Who’s Afraid Of Virginia Woolf.
See it if you might like a strange reworking of the play that is quirky, camp, and over-the-top. Great comedic timing and delivery by cast.
Don't see it if you want to see the classic version performed on stage. This is totally reworked. The first act is hilarious, but it does lose stream.
See it if You are deeply familiar with the Albee play (as well as the works of Tennessee Williams) and love a rowdy, irreverent send-up.
Don't see it if You can't stand a disappointing second half after a play gets off to a promising start.
See it if You want a few chuckles and enjoy impersonations as well as don’t mind not understanding what’s going on unless you’re familiar with Albee.
Don't see it if You aren’t familiar with Albee’s work, want to understand what the play was about and one with a true beginning, middle and end.
See it if you're familiar with Albee; like off-the-wall parodies and/or bizarre pieces; prefer a show on the shorter side (1 hour and 15 minutes)
Don't see it if you want a traditional comedy, and aren't familiar with the work of Albee, Tennessee Williams, or the Twilight series
See it if Virginia Woolf parody goes way over the top. It's supposed to be a feminist take, but it just seems that Martha is more shrewish here.
Don't see it if And George is more drunk. Nick and Honey are more daffy. I wonder if this would make any sense to anyone who's never seen the original.
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