Everyone's Fine with Virginia Woolf
Closed 1h 15m
Everyone's Fine with Virginia Woolf

Everyone's Fine with Virginia Woolf NYC Reviews and Tickets

(57 Ratings)
Members say
Quirky, Clever, Funny, Entertaining, Indulgent

About the Show

Elevator Repair Service presents a sharp-witted parody of Edward Albee’s classic drama 'Who's Afraid of Virgina Woolf?", both as a loving homage and fierce feminist take-down. 

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Show-Score Member Reviews (57)

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123 Reviews | 57 Followers
Edgy, Hilarious, Great writing, Intelligent

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.

546 Reviews | 66 Followers
Great writing, Hilarious, Quirky, Clever

See it if Love Virginia Woolf this is for you. Funny, quirky, contemporary take on a classic play.

Don't see it if Don't know Virginia Woolf then it may not be for you.

133 Reviews | 44 Followers
Hilarious, Edgy, Great acting, Clever, Overdone

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

182 Reviews | 31 Followers
Clever, Edgy, Profound, Quirky

See it if you understand the plot devices of Albee's original and know the issues with it. Plus, if you enjoy ERS way of presenting a story

Don't see it if you prefer a normal, linear, boring theater

688 Reviews | 116 Followers
Dizzying, Edgy, Intelligent, Ambitious, Clever

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

754 Reviews | 128 Followers
Funny, Clever, Resonant, Quirky, Cliched

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.

101 Reviews | 11 Followers
Clever, Funny, Intelligent, Entertaining, Enchanting

See it if you like innovative theater

Don't see it if you only like traditional theater

207 Reviews | 34 Followers
Funny, Indulgent, Quirky

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!

Critic Reviews (26)

The New York Times
June 12th, 2018

“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."
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Time Out New York
June 12th, 2018

"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?”
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The Hollywood Reporter
June 12th, 2018

“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.”
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The Observer
June 12th, 2018

“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."
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June 12th, 2018

“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.”
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Lighting & Sound America
June 13th, 2018

“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.”
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New York Stage Review
June 12th, 2018

“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.”
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New York Stage Review
June 12th, 2018

“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.”
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