I went to see the play, “Who’s Afraid of Virginia Woolf?” last night. As I like to do, I drew cards before going so I could contemplate them during the performance. It enhances the experience for me to be more aware of the dynamics, character conflict and themes as they are occuring.
For those who don’t remember the movie with Liz Taylor and Richard Burton, or who never saw the play: A middle-aged couple, George and Martha, have invited a young couple, Nick and Honey, over for late night drinks after a dinner party. What follows is a series of drunken mind games getting more and more deadly as they all head straight for nuclear armageddon. It was played as a very black comedy. Luckily, it was done by a local troupe of fine actors who gave the play their own unique twist. I focused on George and Martha.
I hadn’t remembered many details of the drama, so I was thrilled by how perfect the cards turned out to be. I did two spreads. The first one was with the Rider-Waite-Smith Tarot. What was I to think when three out of five cards were reversed Court Cards? As it turned out, the play provided excellent examples of how these Court Card types can “go wrong.”
Martha definitely has father issues. Her father is president of the college where her husband teaches in the history department, a sorry disappointment in that George never fulfilled the potential for which Martha had picked him—to become head of his department and eventually take her father’s place. Really, she is the one who should have done so; she, we are told, “wears the pants in the family.” But, her father has never really “seen” her. George sees that she’s the one who should have been king and he keeps her from falling into total despair.
George wields words like a sword, slashing and burning with derision, scorn and disgust all who come within his reach. A word-smith, he’s comfortable with attack and is always looking for a worthy opponent, only most of them fall far too easily beneath his sword. Martha does not.
He’s also her Knight in Shining Armor, tarnished beyond repair and, if we are to believe him, the agent of the deaths of both his mother and his father.
While many other themes can be found, this card clearly points to this one: how we hurt those we love and how little love there can be when one doesn’t love oneself. It suggests the lengths they will go in order to not feel sorry for themselves, despite being emotional wrecks.
Among other things, this theme is played out through the failure of both couples to have given birth, to have had a child—the empty, deflated womb (poof!). The card could also be a nod to the alcoholic haze they are all in.
• What is the central conflict?
The Chariot reversed, crossed by Death.
This is war; a horrible end is always just around the corner, the death of every supposed victory cuts off one-after-another means of escape or reconciliation. The play culminates with a fresh story, concocted by George, the botched novelist, in which he tells Martha that a telegram has been delivered informing them of the death of their son on the day before his 21st birthday. The Chariot is often seen as the son of the Empress and Emperor (3+4 = 7). That the existence of a son is just another game they play with each other doesn’t diminish the agony of a mortal wound—the seeming death of another piece of themselves and their relationship—that ultimately strips them down to the bare bones of who they are.
I also drew five cards from the Petit Lenormand Deck asking for a description of the plot, and I got:
Heart – Mountain – Letter – Book – Man
24-Heart: love and relationships
21-Mountain: blocks, obstacles, barriers
27-Letter: written communications, documents
26-Book: secrets, knowledge, books
28-Man: a man, the querent or significant other
This is the story of love (Heart) that has insurmountable blocks (Mountain) keeping it hidden (Book) and from being communicated (Letter). George (Man) wrote (Letter) his biggest secrets (Book) in a book that never got published (Mountain – blocked by Martha’s father). The characters are continually sending messages to each other, uncovering secrets in an attempt to touch on their true hearts that are unreachable behind the barriers they’ve erected in their disfunctional lives. As I mentioned, George (Man) is the wordsmith who is essentially composing (Letter+Book) all the scenarios (the scripts-within-the-script) to get at what is most deeply barricaded (Mountain) in each person’s heart (Heart). The Letter is also central when George claims that a telegram has arrived reporting the death of their supposed-to-be-secret son (Book+Man).
Finally, I added the numbers of these cards together and got 126, reducing it to 9-Bouquet (1+2+6=9). This stumped me at first. What could the plot have to do with a beautiful gift or invitation? Of course!—the play opens with Martha having invited the other couple over for drinks. But I was even more astounded when George mockingly presents Martha with a bouquet of flowers that he proceeds to throw at her, stem by stem.
Before the play, I also felt compelled to look at two other cards contained within that sum of 126: 12-Birds and 6-Clouds. These were perfect to describe a play that is all about conversations (Birds) or, more properly, dialogs between two couples (Birds can also mean two or a couple) that play on deliberate misunderstandings, fears, doubts, instability, sensibilities fogged with alcohol, and confusion as to what is true and what isn’t (Clouds).
Decks: The 1910 (Pamela”A”) Rider-Waite-Smith deck. The Königsfurt Lenormand Orakelspielkarten, based on the 19th century Dondorf Lenormand (borders cut off).
Also check out my post involving reading for the movie, Beasts of the Southern Wild.