Who's Afraid of Virginia Woolf explores the more realist notions of relationships, the declining state of America and the illusion that is The American Dream; namely the effect trying to fulfil this dream has on people's lives.

By this point Martha is fully engaged with her stories, and George picks his precise moment to begin the requiem mass. The contrast between Martha and George's ludicrous recitation in front of the guests is marvellous, and quite a surreal stage moment ensues. Although, the tone of the recitation often reflects what Martha is saying, for example his favourable response to her loving speech, "Et Lucis aeternae beatitudine perfrui" As Martha is drawing close to the end of her 'material' on the child, and has exhausted the final recollection, we see how the illusion of the child has distorted Martha and George's relationship and in many ways set their fantastical alter-egos as parents against each other. At one point George jibes at Martha, "There's a real mother talking", a quite terrible comment that lacks any sensitivity or tact, unlikely to be said in a real situation without a highly damaging effect. This compares to one of Martha's opening line to George, "You make me puke"

The passage consists of a lot of repetition, "So wise; so wise ... So beautiful; so wise" and even though Martha sounds entranced it is a more realistic dialogue. The tension slowly builds throughout the passage as the audience becomes increasingly aware that Martha is deeply troubled, and either breaks the dependency or follows the path to self-destruction. To counter-act the drawn out effect that too much tension can create, Albee intersperses the scene with comic moments to release some of the audience's pent up anxiety, for example George's mocking retort, "[making a sign]: Dominus vobiscum"

Martha's tone outside the reminiscing is as usual, cutting and cruel comments towards George, but there are more elements of depression, "A drowning man takes down those nearest". Up until this passage Martha had at least found enjoyment in parading her sharp tongue, although she does maintain her aggressive stance on matters, "God how I fought him", much like the boxing match.

Martha ventures into what was previously considered to be more George's territory - an intellectual political attack on George's irrelevance, and George seizes the moment to begin to dominate the argument. Martha quickly folds, and reveals her true instability to the room, "He is fine, everything is fine." She tries to break the discussion of the son in order to stop herself from being exposed in front of the guests, but George reverts to a consistent idea throughout the play. As with many previous arguments, one of the two will begin a personal attack by disassociating themselves from the couple that is George and Martha, "You see, Martha, here ...". George also rakes up some of the things that Martha has said previously to him, not only to remind the audience but also to convey the relentlessness of their petty squabbling; that they are not prepared to let things slide as they never have been throughout the play.

Albee's stage directions also reinforce this point, indicating that Martha says "[Without energy]: No more George" and has finally been broken by George. Not completely, but she is not as willing to think up responses as she has done so readily throughout. This is where Martha's argument begins to decline into a frenzy of weak accusations and blatant fraudulence over the existence of her son. Throughout the play, Albee has slowly built up certain characteristics that we link with George and Martha - he has labelled them, Martha as braying, George as a bog. The argument that unfolds has a very personal feel to it, adding to the natural feel of the play.

Meanwhile, Nick and Honey are in the room watching awkwardly, almost acting as the Jury - the childish arguments are often directed towards them in an attempt to win them over, "He has no letters.". There is also a spate of finishing each others sentences, much like the earlier notion of 'phrasemaker'. Martha uses some harsh words when referring to their relationship, and sounds disillusioned in that the relationship has always been like this, when we have heard previously, and seen in some cases they are in fact a very loving couple, "Come here and give me a big sloppy kiss". These words include, corruption, weakness and petty revenges - the bad factors the son brought to their relationship - and show how disillusioned Martha is.

The speech in which George and Martha talk over one another is a very strange theatrical moment, and needs to be executed precisely to work, but succeeds in conveying Martha's confusion - she is saying things to George that they both know are completely untrue in order to show George the error in his ways. Amazingly moving to watch, it holds no water on paper. Although, the simultaneous start and finish displays an incredible sense of unity, even though Martha is balling her heart out, distressed, while George nonchalantly chants in Latin - despite the absurdity of the scene it is astonishingly personal, mainly because of the intensity of Martha's speech.

The play very much separates itself from the Broadway productions of the era, due to its realistic nature and bold approach towards offending the audience. As Albee said himself, he would be 'disappointed if the play did not offend: it's supposed to'. But these factors are just baggage that come with the absurdist genre of the play, a series of bizarre events paired with a realistic dialogue that entangles the audience in regularity of the set versus the peculiar, objectionable behaviour of the characters, that contrasts so beautifully with the drawing-room comedies of the period.