The show: “Edward Albee’s Who’s Afraid of Virginia Woolf?” by Edward Albee at Yale Repertory Theatre. in New Haven. Hmmm. Following “Agatha Christie’s The Mousetrap” by Agatha Christie, I’m wondering if this is a trend?

What do you mean?: Having the author’s name as part of the title. I recall works of Neil Simon starting the practice years ago with making the playwright’s name part of the title as if theater-goers could’t figure it out otherwise. Pure ego by playwright? Or, more likely, all about marketing? (When in doubt, it’s usually always about the money.) But isn’t it enough to have the author’s name made more significant on the poster without making the author’s name part of the title? Ah, well. In the grand scheme of things, it’s not all that important as, say, Kanye West’s antisemitic remarks or the future of democracy , but still… words matter.

What makes the production special?: It’s the first time the play have been produced by one of the state’s major theaters in 40 (oops, 30) years. I saw a terrific ensemble at Hartford Stage starring Marlo Thomas and Robert Foxworth at Hartford Stage in the early ‘90s.

The show ends this weekend: I know but life just got complicated for me so I’m just dashing off this quick sharing of thoughts rather late in the game to urge fans of the play to check this production out. It’s certainly worth it for the lead performances alone.

Any stars? Any special take?: No stars. No special “take” but a couple of terrific performances.

What’s it about? Long night’s journey into day for George and Martha, spurred by drink, game playing and a younger married couple who enter the fray in this academic setting — so perfect for Yale that it could also be a documentary.

Well, there is that echo: This is right in director James Bundy’s wheelhouse. One imagines he really knows the setting and characters well, at least its academic/political dynamic. He also nails the central relationship between the main two characters, performed so well by Rene Augesen as Martha and Dan Donohue as George.

Tell us more: Though the social mores of the play is of its time (early ‘60s) with lots consumption of alcohol and the seeming normalcy of late-night invites, the interplay among these marriage couples are relatable to any era.

What’s it about?: George, a history professor at a New England College is married to Martha , several years his senior and the daughter of the president of the college. Following a faculty cocktail party they arrive home at midnight where he learns that Martha has invited for a nightcap another couple: a newly-arrived young and handsome professor and his fragile, mousy wife. Over the course of the three acts (and the three hour-plus production) both marriages are tortured and tested until core truths are revealed.

Bundy and his leads have artfully crafted love-hate characters of depth, nuance, and dare. Donohue’s fiercely intelligent, low-key but clearly clever George has a ticking time bomb quality to him, and the actor’s clipped speech patterns reveals a mind a-whirling, one that keeps the games afoot. Aufgese;’s Martha also shows herself to be a lusty force of nature, while also demonstrating her terrifying vulnerability. Most importantly one imagines them as a lived-in couple who have played this dance of wills and wits many times before.

Nate Janis as Nick and Emma Pfizer Price do not have as solid a grasp in their characters. Janis’ Nick take on the new prof in town is odd and comes across as slick or just creepy. Price’s Honey is one who is is more lost — or disturbed — than usual.

Other notes?: Kyle J. Antoine’s costumes were spot on and I liked Miguel Urbino’s set design even if he didn’t quite mess up “the dump” enough. And the placement of the dog statue in the middle of the coffee table was distracting. (Also out of place was one bit of staging that had George and Martha at both ends of the couch with Honey and Nick trapped in the middle during one scathing and telling exchange making it an inappropriate gag bit

Who will like it?: Yalies. Fans of the play (for the most part). Those who are attracted to juicy, down and out, rip roaring, marital conflicts of substantial weight (and length).

Who won’t? Those in AA. Marriage counselors.

For the kids?: Only if they’re imaginary.

Thoughts on leaving the parking lot?: I seem to recall someone saying to me that Albee was inspired to write the play after visiting Yale in the early ‘60s. It is said while staying at one of the residences, he overheard a master and his wife really going at it during a long night. It may not be true — but it is fun to think that the idea of George and Martha originated here.

One more thought: A content advisory — which used to be limited to noting that a production would include nudity, then expanded to note cigarette or gun shots would be used — is now a laundry list of things that would affect any fragile theatergoer. (In this production the only thing it fails to note is open to alcoholics that there’s enough booze flowing to float a ship.) One might also warn audiences that this play would also include something for them to think about, too. You know, trigger warnings for delicate dullards.