This revival of the Edward Albee classic played in New York last year, where I had ample time and opportunity to see it. Somehow, I missed it. Thankfully, they’ve taken the whole production across the pond, giving me a second chance to see this brilliantly reviewed work. The cast features Katheen Turner and Bill Irwin as Martha and George, and David Harbour and Mireille Enosand as Nick and Honey. All four were nominated for Tonys last year, Irwin claiming the honor.

George and Martha have been married 23 years. We see them right off the bat as hatefully dysfunctional (one of Martha’s first lines to him being, “You make me sick”). They’ve invited new friends over, a young married couple, in the middle of the night. The course of the evening into the following morning takes place over three acts. What transpires is basically a series of drunken mind games, in which George and Martha try to humilate and hurt each other, much to the shock of the guests. Due to Honey’s intoxicated and incapacitated state, the guests are forced to stay all night in the house, eventually becoming involved in a horrific “game” George calls “Get the guests.” Eventually we see who the winners and losers of these games really are, which shows us the true nature of their relationships.

The one word that comes to mind when describing this production is “flawless.” Whether or not you are impressed by Albee’s hilarous wordplay and dark subject matter, you can’t argue with the precision of the acting and direction. This show is a finely oiled machine - every cog turns effortlessly.

I didn’t see Cherry Jones in Doubt, last year’s best actress winner, but Ms. Turner’s performance is certainly Tony-worthy. You can’t take your eyes off her powerful ranting. She has really developed from screen siren to powerful, mature, stage actress. Other film actors don’t make such a seamless transition. And Irwin, as the seemingly weaker character, brings complexity, subtlety and debt. Enosand, at first, seems to be doing a drunken Judy Garland impression, but as the play progresses we are able to better see her development as a ditzy, naive, basket case of a woman. Harbour, similarly, plays up the youth and inexperience of the character, adding a hilarious whiny quality, coupled with testosterone and rage.

This show has been around since the 1960s. Yet somehow, the material seems as fresh as if it were a brand new play. Masterfully done.

Joseph Fiennes is known for his leading roles in Shakespeare in Love and Elizabeth. Apparently, Hollywood decided to typecast him as a ‘period-piece-only’ actor, and has since dropped of the major motion picture radar. Lucky for theatregoers, he has shifted his focus to stage acting. He plays the title character in this much praised but rarely revived play.

John Osbourne, most known for his work Look Back in Anger, wrote Epitaph as a collaboration between himself and Anthony Creighton. Epitaph lacks some of the raw, emotional ferocity the other play is known for, but what is lacks in over the top theatrics, it makes up for in subtle, complex, honesty.

The play is bleak throughout. A mediocre, middle-class family is changed when George Dillon comes to live with them. Kate Elliot has taken pity on this charming, penniless, aspiring actor/writer. He exists to her as a surrogate for her son who was killed in the war. Dillon’s supposed aspirations are high, but you see him from the very beginning as a jaded and sad man, who can no longer tolerate the hardships of being a starving artist. He has all the women of the family fooled into thinking he’s an great artist and man, even though we know he is painfully aware of his own mediocrity. The only person that truly intrigues him is Ruth, Kate’s sister, an older, alluring woman with whom he connects. They challenge each other, eventually driving the other away. Dillon eventually turns to Kate’s daughter Josie, who loves him. He becomes a complete sell-out in order to make money in the theatre, and ends up marrying the young Josie. The family (sans Ruth, who moves out) couldn’t be happier. He is visually distraught, but prepared to commit himself to this average life he once outwardly mocked. He becomes the person he never wanted to be - although he always feared that he would.

Fiennes’ performance is excellent. He captures the complexities of the character from every angle. You feel pity and disgust for him, but you are also taken in by his charm. He plays the role as the consummate performer - he really doesn’t know what is truth vs. reality - life is a play to him; so much, that he doesn’t really know who he is. The one person who might help him find out is Ruth, played powerfully by Francesca Annis. Also in an excellent performance is Anne Reid as the dotty, talkative, lonely Mrs. Elliot. She makes it clear why she needs George in her life. She has no connection with her cold, absent husband.

An interesting depiction of very real characters in a very real situation, excellently acted. I did find Peter Gill’s direction to be a bit flat at times — perhaps due to the length of the show — but there were scenes in the first half that seemed to go on forever, and didn’t completely hold my attention. And the set was poor - an invisible wall separating the living room from the hallway that characters would frequently shout through. I assume they followed the original set design that Osbourne illustrates in the script. My suspension of disbelief didn’t buy this one.

A show definitely worth seeing, and I was fortunate enough to see one of the final performances. Boy, do the British love their bleak dramas!