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Who's Afraid of Virginia Woolf (Feature film)

Adapted for the screen by 2nd Year Film Student Samuel Irens, "Who's Afraid of Virginia Woolf" is a gripping drama that explores the complexities of marriage.

Full Project Team and Needs
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This project - being a faithful adaptation of Edward Albee's ground-breaking theatre-production "Who's Afraid of Virginia Woolf" - aims to bring the drama and barbarity found in the play, to the screen.


Set in the early 1960s on the East Coast of the USA, college-teacher George and his wife Martha invite round a younger-pair (Nick & Honey) for a supposed "after-party". Though, as the night progresses, the bitter and venomous nature of the old-married-couple exposes all sorts of ugliness found within the four. 

A truly multifaceted story, the film sheds to light the complexities of marriage via all taking place over the course of one exhilarating yet exhausting evening.


From the creation of the set to the costumes (and everything in-between) the film is to be made by students studying at Bristol-film school "Screenology".


Wanted

Actor
(Male, 40 to 55 years old)

Role status:

Will close on 17 December, 2020

In return for:

Love and learning

Food and drink will be provided for during the days of filming (which we can estimate there will be around 4/5 of)

Timing:

5 days

Covid-permitting, this project aims to be filming by early-March, though actors must be available throughout late-Dec., Jan. & Feb. for extensive rehearsals.

Location:

Based in Bristol, United Kingdom

This Cahootify Opportunity is for the role of "George" in the 2021 film-adaptation of Edward Albee's renowned theatre-production - "Who's Afraid of Virginia Woolf".

George is a middle-aged American man who is married to Martha - the two have been with each other for decades and do nothing but fight and argue.
Considerably more quiet and reserved than his wife, he is, undoubtedly, a broken man. Constantly woeful that he has under-achieved in his career and growing more sick of his "better-half" by the day, he envelopes his depression and self-hatred via a façade of smarminess and self-entitlement.

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