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* PrecisionFStrike: In the revival starring Bill Irwin and Kathleen Turner, Martha screams, '''"FUCK YOU!"''' at George instead of "Goddamn you!"
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* PrecisionFStrike: In the revival starring Bill Irwin and Kathleen Turner, Martha screams, '''"FUCK YOU!"''' at George instead of "Goddamn you!"you!" (The line in the original play was "Screw you!"--which still got censored in the film adaptation.)
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In Old Chicago is about the Chicago fire. Chicago the musical was based on Chicago the play.
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''Film/BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha. George thinks she's referencing the original non-musical version of ''Theatre/{{Chicago}}'', ''[[https://www.imdb.com/title/tt0029047/ In Old Chicago]]''.
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''Film/BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha. George thinks she's referencing the original non-musical version of ''Theatre/{{Chicago}}'', ''[[https://www.imdb.com/title/tt0029047/ In Old Chicago]]''.''Theatre/{{Chicago}}''.
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Changed line(s) 109 (click to see context) from:
** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha. George thinks she's referencing the original non-musical version of ''Theatre/{{Chicago}}'', ''[[https://www.imdb.com/title/tt0029047/ In Old Chicago]]''.
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' ''Film/BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha. George thinks she's referencing the original non-musical version of ''Theatre/{{Chicago}}'', ''[[https://www.imdb.com/title/tt0029047/ In Old Chicago]]''.
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* GenreSavvy: George and Martha, but George especially, and he ''weaponizes'' it. See Parlor Games below.
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Cut trope
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* DangerouslyGenreSavvy: George and Martha, but George especially, and he ''weaponizes'' it. See Parlor Games below.
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* AwLookTheyReallyDoLoveEachOther: [[MindScrew Or possibly]] don't, depending on which [[AlternativeCharacterInterpretation aspects of the characters' personae]] you believe.
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* AwLookTheyReallyDoLoveEachOther: [[MindScrew Or possibly]] don't, depending on which [[AlternativeCharacterInterpretation aspects of the characters' personae]] you believe. However, when Nick accidentally (?) insults Martha by calling her the "widest avenue" on campus, George takes offense and verbally but subtly skewers him, prompting Martha's "pygmy hunting" comment.
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* ObfuscatingStupidity: [[spoiler:Honey. She initially seems like TheDitz, but she's far more conniving than Nick, and figures out George and Martha's secret long before her husband.]]
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* CentralTheme: The lies couples tell each other to cope (illusions), and the painful necessity to have truth.
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* EurekaMoment: Nick finally understands what Honey figured out earlier, bordering on MadnessMantra.
-->'''Nick:''' Oh my God. I think I understand this.\\
'''George:''' Do you?\\
'''Nick:''' Oh my God. I think I understand this.\\
'''George:''' ''(mildly approving)'' Good for you.
-->'''Nick:''' Oh my God. I think I understand this.\\
'''George:''' Do you?\\
'''Nick:''' Oh my God. I think I understand this.\\
'''George:''' ''(mildly approving)'' Good for you.
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* ArmorPiercingQuestion: Nick and Honey tells George they really ought to go home, causing George to snap, "For ''what''? You keeping the babysitter up or something?"
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* {{Foreshadowing}}: George drops plenty of hints to Nick that [[spoiler: their child doesn't exist]] but he's too drunk to notice.
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* {{Foreshadowing}}: {{Foreshadowing}}:
** When Honey tells George she didn't know he had a son and his birthday was tomorrow, George reacts in shock, asking "She told you about him?" then glares upstairs and mutters, "OK, Martha, OK... Damn destructive."
** George drops plenty of hints to Nick that [[spoiler: their child doesn't exist]] but he's too drunk to notice.
** When Honey tells George she didn't know he had a son and his birthday was tomorrow, George reacts in shock, asking "She told you about him?" then glares upstairs and mutters, "OK, Martha, OK... Damn destructive."
** George drops plenty of hints to Nick that [[spoiler: their child doesn't exist]] but he's too drunk to notice.
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* NeverLiveItDown: InUniverse, Martha will never let George forget he ordered "bergin and water" (he meant bourbon). It leads a [[TranquilFury pissed]] George to perform a CatScare with a shotgun-umbrella.
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* PickOnSomeoneYourOwnSize: Martha's initial reaction to George turning on Nick is to accuse him of "[[UnusualDysphemism pygmy hunting]]".
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* PickOnSomeoneYourOwnSize: Martha's initial reaction to George turning on Nick is to accuse him of "[[UnusualDysphemism pygmy hunting]]". [[spoiler:It turns out to be a BeCarefulWhatYouWishFor, since George turns on ''her''.]]
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* BewareTheNiceOnes: George may seem more weak-willed than Martha, but he's the most vicious of the two, and when TheGlovesComeOff, he undresses Nick, Honey ''and'' Martha devastatingly.
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* GodzillaThreshold: [[spoiler:Martha broke the most solemn rule -- never speak of their son to others. This allows George to do a NoHoldsBeatdown of her, and gave him permission to kill their fictional son.]]
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* GodzillaThreshold: [[spoiler:Martha broke the most solemn rule -- never speak of their son to others. This allows George to do a verbal NoHoldsBeatdown of her, and gave him permission to kill their fictional son.]]
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* GodzillaThreshold: [[spoiler:Martha broke the most solemn rule -- never speak of their son to others. This allows George to do a NoHoldsBeatdown of her, and gave him permission to kill their fictional son.]]
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* RewatchBonus: The film gets better the more the viewer knows about both couple's secrets in advance.
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* BittersweetEnding: [[spoiler: George destroys the fictional son that he and Martha invented, but this may be just the thing for the couple to move forward with no illusions to cling to.]]
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* BittersweetEnding: [[spoiler: George destroys the fictional son that he and Martha invented, but this may be just the thing for the couple to move forward with no illusions to cling to. Nick and Honey resolve their marital issues, and bond with George and Martha just before leaving.]]
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha.
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, Bette Davis herself was slated to play Martha. George thinks she's referencing the original non-musical version of ''Theatre/{{Chicago}}'', ''[[https://www.imdb.com/title/tt0029047/ In Old Chicago]]''.
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* DangerouslyGenreSavvy: George and Martha, but George especially, and he ''weaponizes'' it. See Parlor Games below.
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* HypocriticalHumor: When George and Martha try to find out where the "What a dump" line comes from, George suggests ''Chicago''. Martha responds: "Don't you know anything? ''Chicago'' was a '30s musical starring little Miss Alice Faye. Don't you know anything?" The film she's talking about is actually called ''In Old Chicago''.
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* HypocriticalHumor: When George and Martha try to find out where the "What a dump" line comes from, George suggests ''Chicago''. Martha responds: "Don't you know anything? ''Chicago'' was a '30s musical starring little Miss Alice Faye. Don't you know anything?" The film she's talking about is actually called ''In Old Chicago''.''Film/InOldChicago''.
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* PunBasedTitle: An obvious play on "[[Disney/ThreeLittlePigs Who's Afraid of the Big Bad Wolf?]]" Albee put "Virginia Woolf" in the title in place of "Big Bad Wolf" because he was afraid of copyright infringement. (He'd also seen it as a graffito on a bathroom mirror and found it amusing.) It also adds to the concept of absurdism throughout the play.
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* PunBasedTitle: An obvious play on "[[Disney/ThreeLittlePigs "[[WesternAnimation/TheThreeLittlePigs Who's Afraid of the Big Bad Wolf?]]" Albee put "Virginia Woolf" in the title in place of "Big Bad Wolf" because he was afraid of copyright infringement. (He'd also seen it as a graffito on a bathroom mirror and found it amusing.) It also adds to the concept of absurdism throughout the play.
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* InfantImmortality: [[spoiler: Double subverted. Played with in that Martha is affected by the BrokenMasquerade as much as if it actually happened.]]
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* InfantImmortality: [[spoiler: Double subverted. Played with in that Martha is affected by the BrokenMasquerade as much as if it would've actually happened.]]
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* TheBabyTrap: How Honey got Nick to marry her. [[spoiler: She had a FakePregnancy, tho.]]
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* TheBabyTrap: How Honey got Nick to marry her. [[spoiler: She had It was a FakePregnancy, tho.however. This is eventually defied by the end of the play, as what transpires between both couples gives her the idea to actually have a child with Nick.]]
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* TheAlcoholic: Everyone. The play starts after a dinner party where all of the characters have presumably been drinking, and they all keep drinking until the sun comes up.
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* TheAlcoholic: Everyone. The play starts after a dinner party where all of the characters have presumably been drinking, and they all keep drinking until the sun comes up.for ''10 hours''.
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* BrokenMasquerade: [[spoiler: George's verbal takedown of Martha results in this.]]
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* ImagineSpot: [[spoiler: The idea of George and Martha's child exists as nothing more than a means to put up the illusion of them being a happy couple, which the both of them prove that, of course, they [[AwfulWeddedLife are decidedly not]].]]
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* InfantImmortality: [[spoiler: Double subverted. Played with in that Martha is affected by the BrokenMasquerade as much as if it actually happened.]]
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, BetteDavis herself was slated to play Martha.
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** Martha quotes a line ("What a dump!") from the Creator/BetteDavis movie ''BeyondTheForest'' (but she can't remember the title) which is mainly remembered for this reference. Made funnier by the fact that the in the initial casting for the film, BetteDavis Bette Davis herself was slated to play Martha.
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* DeconstructorFleet: The play takes a hatchet to the idea of the perfect American family in a way that was arguably completely unprecedented at the time. It also fits in the canon of deconstructions of the American Dream, along with other plays like ''Theatre/DeathOfASalesman''.
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* DeconstructorFleet: The play takes a hatchet to the idea of the perfect American family in a way that was arguably completely unprecedented at the time. It also fits in the canon of deconstructions of the American Dream, UsefulNotes/TheAmericanDream, along with other plays like ''Theatre/DeathOfASalesman''.
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A classic 1963 play by Edward Albee, which in turn spawned a classic 1966 film directed by Creator/MikeNichols and starring Creator/RichardBurton and Creator/ElizabethTaylor.
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A classic 1963 play by Edward Albee, which in turn spawned a classic 1966 film directed by Creator/MikeNichols and starring Creator/RichardBurton and Creator/ElizabethTaylor.
Creator/ElizabethTaylor, with George Segal and Sandy Dennis co-starring.
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The play won several important dramatic awards, including the Tony Award for Best Play (its cast and crew also won several other major Tonys, including Best Direction, Best Production, Best Actor, and Best Actress). It was also selected for the UsefulNotes/PulitzerPrize for Drama by that year’s drama jury, but the jury was overruled by the advisory board, who objected to its profanity and sexual content; correspondingly, no prize for drama was awarded that year.
The film was nominated for every single UsefulNotes/AcademyAward it was eligible for, winning five, including Best Actress and Best Supporting Actress for Taylor and Dennis respectively; it is generally considered Taylor’s best performance. (Dennis had also won a Tony Award in 1963, the same year the play won its Tonys, but hers was for ''Film/AThousandClowns''.) It was also a major step in the unravelling of UsefulNotes/TheHaysCode, as it featured dialogue that was profane and extremely sexually explicit by contemporary standards and was released with almost no changes. Later in 1966, Creator/{{MGM}} released ''Film/{{Blowup}}'' without Hays Code approval, which effectively marked the end of the Code.
The film was nominated for every single UsefulNotes/AcademyAward it was eligible for, winning five, including Best Actress and Best Supporting Actress for Taylor and Dennis respectively; it is generally considered Taylor’s best performance. (Dennis had also won a Tony Award in 1963, the same year the play won its Tonys, but hers was for ''Film/AThousandClowns''.) It was also a major step in the unravelling of UsefulNotes/TheHaysCode, as it featured dialogue that was profane and extremely sexually explicit by contemporary standards and was released with almost no changes. Later in 1966, Creator/{{MGM}} released ''Film/{{Blowup}}'' without Hays Code approval, which effectively marked the end of the Code.
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** The whole play qualifies to some extent, given how thoroughly it uses UnreliableExpositor. It’s considered a central work of the Theatre of the Absurd for a reason, after all.
