Objectives

• Analyse how Albee uses Martha and George's opening exchanges in Act One to establish a marriage built on mutual cruelty and performance.
• Explain how Albee manipulates dialogue — interruption, naming, and direct address — to dramatise shifting power between George and Martha across all three acts.
• Evaluate how the Nick–Honey subplot in Acts One and Two functions as a distorted reflection of the central marriage's themes of deception and ambition.
• Analyse how Albee structures the 'exorcism' sequence in Act Three to expose the imaginary son as both a symptom of and a solution to George and Martha's existential emptiness.
• Write a sustained, evidenced analytical response that connects Albee's dramatic techniques to his critique of postwar American illusions about marriage, identity, and the domestic ideal.

The sequence

1. Lesson 1: A House of Loaded Guns: Establishing the World of Act One

   55 min · ch. 1

   Do now

   After returning home from a party at midnight, the couple might argue about who was responsible for leaving the dishes piled up in the sink and whether they should have stayed longer to socialize with their friends. The stage direction reveals that the living room of a house on a small New England college campus suggests an environment filled with academic aspirations and youthful energy.

   Teacher input

   Model a close reading of the exchange that opens Act One, starting from Martha's line, "What a dump," and ending with George's response, "And you didn't like it either." Help students see how Albee employs Martha's film-quote game—where she misremembers a line from the 1949 movie Beyond the Forest—to illustrate that their marriage relies on performance and borrowed scripts. Highlight how George's precise corrections—"Chicago. Illinois. 1949."—reveal a man who uses accuracy as a weapon. On the board, annotate the rhythm of the lines: Martha attacks, George deflects, Martha escalates. Label this as Albee's "volley" structure.

   Independent task

   Students read from Martha's announcement, "I'm loud and I'm vulgar and I wear the pants in this house because somebody's got to," to when Nick and Honey knock at the door. They then write one analytical paragraph using the PEEL structure, arguing whether Martha's self-description reflects an act of defiance, self-pity, or both. The paragraph must include at least two specific quotations from this passage and should start with a clear claim about what Albee is conveying, rather than focusing solely on Martha's actions.

   Exit ticket

   One technique Albee uses is wordplay. This reveals the power dynamic between George and Martha, as their banter showcases Martha's dominance and George's attempts to assert himself, highlighted when he says, "I don't want to play this game."

2. Lesson 2: Who Holds the Gun? Power and Dialogue in Acts One and Two

   55 min · ch. 1, 2

   Do now

   Re-read George's speech in Act Two, which starts with 'I've tried to be what I am' and concludes with 'I'm going to be sick.' In one sentence, state what George claims he has given up, and in another sentence, share your thoughts on whether you believe him. You have five minutes — hold off on any discussion for now.

   Teacher input

   Model how to track power through Albee's use of naming in the Act Two exchange where George shares the story of 'a boy who had killed his mother in a hunting accident.' When Nick asks, 'Is this true?' note that George never confirms or denies the story; instead, he simply replies, 'Maybe.' This refusal to anchor the narrative in reality is a subtle power move: George asserts control over the room by dictating what is considered real. Additionally, take note of Albee's stage direction '(Long pause)' right after Nick's question, which forces the audience, along with Nick, to sit in the tension of uncertainty.

   Independent task

   Students receive the transcript of the 'Hump the Hostess' scene in Act Two, starting from Martha's line, "Why don't we play a game?" and ending with George's exit to the garden. They spend five minutes annotating the passage before writing two analytical paragraphs. The first paragraph should explore how Albee employs Martha's direct commands to Nick—her use of the phrase "Hump the Hostess" serves to humiliate George instead of seducing Nick. The second paragraph should analyze how George's silence in this scene acts as a form of aggression. Each paragraph must include direct quotes and discuss a specific dramatic technique, such as imperative mood, stage direction, pause, or interruption.

   Exit ticket

   In Act Two of "Who's Afraid of Virginia Woolf?", Albee employs a pause when Martha reflects silently after George's cutting remark, giving her a powerful, unspoken presence that underscores her emotional turmoil.

3. Lesson 3: The Mirror Couple: Nick and Honey as Distorted Reflection

   50 min · ch. 1, 2, 3

   Do now

   Honey's admission in Act Two — 'I don't want any children. I'm afraid! I don't want to be hurt' — exposes her deep fears and insecurities about her marriage, suggesting that she feels trapped and vulnerable. Albee likely chose this moment to highlight the fragility of their relationship, emphasizing the emotional turmoil that underpins their interactions and the societal pressures they face.

   Teacher input

   Model a comparative reading of two key moments: first, Nick's boast in Act One that he married Honey partly because "she was going to have a baby and then she wasn't" (referring to the false pregnancy), and second, George and Martha's confession in Act Three that their son was never real. Help students see how Albee aligns both couples' foundational lies — a pregnancy that didn't happen and a child who never existed — side by side. This structural echo compels the audience to view Nick and Honey not as innocent bystanders but rather as a younger, less self-aware version of George and Martha. Highlight the parallel syntax Albee employs in both confessions.

   Independent task

   Students are tasked with writing a structured comparison consisting of three paragraphs, no longer than one side of A4. They will argue that Nick and Honey act as a 'distorting mirror' for George and Martha. In the first paragraph, students should explore the theme of deception in marriage, using evidence from Act One. The second paragraph should focus on ambition and compromise, drawing on Nick's dialogue from Act Two. Finally, the third paragraph must assess whether Albee portrays the younger couple as more or less trapped than the older couple, supporting their judgement with a quotation from Act Two or Three. Students will submit their written comparison at the end of the lesson.

   Exit ticket

   One structural parallel between the Nick–Honey subplot and the George–Martha plot is that both couples engage in revealing and often painful conversations that expose the fragility of their relationships. By placing both couples on stage together, Albee creates a dynamic interplay that highlights their contrasting approaches to intimacy and conflict, enriching the audience's understanding of the themes of truth and deception in relationships.

4. Lesson 4: 'Our Son Is Dead': The Exorcism of the Imaginary Child in Act Three

   55 min · ch. 1, 2, 3

   Do now

   Before diving into Act Three, jot down everything you recall about George and Martha's son from Acts One and Two — his age, appearance, interests, and how they talk about him. You have four minutes. Hold onto your list: you'll need it later.

   Teacher input

   Model a close reading of the exorcism scene in Act Three, starting from George's entrance with the snapdragons and his announcement, "I have a telegram," and continuing to Martha's increasingly frantic question, "YOU CANNOT DO THAT!" Help students see how Albee uses the telegram—a prop George has made up—as a theatrical tool that makes the 'death' feel bureaucratically real, even while the audience understands it’s all fiction. Highlight how George's calm, almost ritualistic delivery ("It was an accident… he swerved to avoid a porcupine") contrasts with Martha's hysteria, illustrating who has decided to end the game and who relied on it for their survival.

   Independent task

   Students go back to the list they created during the do-now activity and annotate it. For each detail about the son, they should note whether it comes from George, Martha, or both, as well as indicate if it contradicts another detail. Next, they will write one analytical paragraph arguing that Albee intentionally places contradictions in the son’s biography throughout Acts One and Two, prompting a careful reader to suspect the truth before it is confirmed in Act Three. The paragraph must reference at least two specific moments from Acts One or Two, mentioning the act and approximate position (e.g., 'early Act Two'), and explain what each contradiction reveals.

   Exit ticket

   Albee refers to Act Three as 'The Exorcism' instead of 'The Revelation' to suggest that George is trying to expel the toxic dynamics of their relationship, while Martha faces the loss of her illusions and the painful reality that comes with it. The term 'exorcism' implies a cleansing process, indicating that George is attempting to rid their lives of the destructive patterns that have defined their marriage.

5. Lesson 5: 'Who's Afraid of Living Without False Illusions?': Synthesising Albee's Argument

   55 min · ch. 1, 2, 3

   Do now

   Who's afraid of Virginia Woolf?

   In the context of the play, 'Virginia Woolf' symbolizes the complexities of human relationships and the struggles between reality and illusion.

   Teacher input

   Model how to build a whole-play argument using the closing image of Act Three: George and Martha are alone on stage as dawn breaks. George softly sings the title song, and Martha responds, "I am, George… I am." Guide students in interpreting this moment as Albee's thesis statement — Martha, having let go of the illusion of their son, is finally confronting her fear of raw reality. This confrontation represents both a defeat and a deepening of their intimacy. Illustrate how to incorporate this closing moment into an essay introduction that sets up the play's argument about the American domestic ideal, while also considering the play's context from 1962.

   Independent task

   Students will write a timed essay that includes an introduction and two body paragraphs, totaling around 400 words, in response to the prompt: "In Who's Afraid of Virginia Woolf?, Albee presents illusion as both destructive and necessary. How far do you agree?" The introduction should present a clear and debatable argument regarding the entire play. The first body paragraph must analyze a specific moment from either Act One or Act Two, while the second body paragraph should focus on a moment from Act Three. Additionally, students are required to use the word "however" or "nevertheless" at least once to demonstrate their engagement with the complexities of the question. The completed work is to be submitted at the end of the lesson for written feedback.

   Exit ticket

   Albee's attitude toward illusion ultimately reveals a complex interplay of cynicism and hope, suggesting that while illusions can provide comfort, they also mask the painful truths of reality.

Activities

Assessment

• Lesson 1 exit ticket checks whether students can identify a named technique in Act One's opening pages and connect it to the George–Martha power dynamic using a textual quotation.
• Lesson 2 annotated transcript of the 'Hump the Hostess' sequence checks whether students can distinguish between what a character appears to be doing (flirting, withdrawing) and what Albee is doing (staging humiliation as aggression).
• Lesson 3 written comparison checks whether students can sustain a parallel argument across two couples using evidence from at least two acts, and whether they can make a judgement rather than merely describe.
• Lesson 4 annotated son-biography list checks whether students have tracked contradictions across all three acts and can articulate why deliberate inconsistency is a dramatic technique rather than an error.
• Lesson 5 timed introduction and two body paragraphs check whether students can frame a whole-play argument, select and embed evidence from specific moments, and handle the complexity of a 'how far' question.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama, including where a story is set, how the action is ordered, and how the characters are introduced and developed.
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• W.11-12.1 — Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

AP Literature

• Literary Argumentation (LAN-1) — Make a defensible claim about a literary text that can be supported by textual evidence.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases in a literary text, including connotation and tone.
• Character (CHR-1) — Explain the function of a character, including how characters develop, interact, and contribute to the meaning of a literary work.
• Structure (STR-1) — Explain the function of structure in a literary text, including how act and scene divisions contribute to meaning.
• Narration (NAR-1) — Explain the function of point of view and dramatic perspective, including how a playwright controls what an audience knows and when.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including Albee's use of dialogue rhythm, stage directions, naming, and structural parallelism.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including postwar American domestic ideology and the Theatre of the Absurd.
• AO5 — Explore literary texts informed by different interpretations, including readings of the play as a critique of the American Dream and as an absurdist drama.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts using associated concepts and terminology and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in texts, with specific attention to Albee's dramatic language, structure across three acts, and use of silence and stage direction.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which texts are written and received, including the 1962 Broadway premiere context and Cold War anxieties about domestic life.
• AO4 — Explore connections across literary texts, including the relationship between Who's Afraid of Virginia Woolf? and the Theatre of the Absurd tradition.