Edward Albee's powerful yet disturbing masterpiece "Who's Afraid of Virginia Woolf" blends reality with illusion, leading the audience to question the significance of material existence. Albee introduces George and Martha’s strained, temperamental relationship at the very beginning of the play, establishing their turbulent relationship as one founded on conflict and illusions. Even though Martha’s insecurity and abrasive vulgarity antagonizes and alienates the audience, Albee gradually reveals George’s culpability in their relationship’s failures. Through George and Martha the reader understands the idea that love and hate are simply parts of a single whole: two mutually inclusive feelings that naturally arise in every relationship. The play also reflects the quick condemning nature of society; even though the audience condemns the characters for their actions. By presenting a logically incoherent relationship that seemingly contradicts itself over the course of the play, Albee challenges the audience to realise the close resemblances to our own lives.

Albee’s portrayal of George and Martha at the beginning of the play blatantly shows the reader that in Martha and George’s strained relationship, Martha defies 1950’s norms by assuming the dominant role over George. By juxtaposing Martha frantically yelling “what’s it from Christ’s sake” with George’s weary reply “what’s what from”, Albee quickly establishes Martha’s dominance over George as well as George’s resignation towards their floundering marriage; from this exchange, the audience recognizes Martha’s incessant yelling as abusive and abrasive. Though Martha’s marital supremacy earns her the audience’s scorn and condemnation, Albee gradually shifts the cause of the discord to George by portraying him as an aggressor who’s “going to knock [Martha] around”. Of particular importance is the stage  direction “wearily”, which implies that Martha tires George out or he is reluctant to answer, both of which demonstrate their strained relationship. The nuanced stage direction also seems to show George develop throughout the play as a character, as he becomes increasingly aggressive and assertive as his facade crumbles underneath the weight of his lies until he is left with no more illusions with which to comfort himself. The peeling of false layers reflects upon the theme of reality and illusions, as it deceives the reader into condemning Martha right from the start of the play. Albee creates parallels to symbolise the unsatisfactory and strained relationship that George and Martha share; the imitation of Bette Davis “What a dump” and then later on Martha going on to state “She’s dissatisfied” draws parallels too close for comfort for these two characters, as demonstrated by the ‘[pause]’ before George talks. Martha’s character closely resembles Bette Davis, a strong independent woman; however, Martha is seemingly tied down or limited by George, therefore feeling “discontent”. Martha’s dissatisfaction with George further shapes the reader’s initial response to their dysfunctional and troubled relationship, reinforcing the point that their relationship is strained. Martha’s dissatisfaction seems to stem from their relationship, but  Martha actually feels alienated as she possesses none of the attributes of a typical 1950’s housewife.

clearer, more on point, better topic sentence/point, venturing too far, not enough close analysis