Bringing Out the Beast ëGoatí Tackles Taboo and Duality of Love That Can Turn to Insane Hate by Fresia RodrÌguez Cadavid Edward Albeeís ìThe Goat or, Who is Sylvia,î now showing at Arena Stage, is a Greek tragedy gone absurdly funny, holding playgoers in suspense as the twisted fate of a married couple unravels after an affair of sorts is revealed, ultimately leading to torment and an unexpected crime of passion. ìThe Goat or, Who is Sylviaî is Pulitzer- and Tony Award-winner Albeeís daring mission to broach taboo. The play, directed by Wendy Goldberg, centers on the perceived marital bliss of Martin and his adoring wife Stevie. Martin is a renowned architect who has become the youngest recipient of the coveted Pritzker Prize. Celebration progressively turns to tragedy when Martin confides in his best friend Ross that he is having an affair and is in love with a mysterious Sylviaóa goat. Unable to cope with the guilt of keeping this secret from Stevie, Ross makes the fateful decision to confess the infidelity to her. Goldberg said she was drawn to Albeeís drama because it attempts to change people and their self-perceptions. ìëThe Goatí is not about bestiality, but something far more difficult: the irrati onal nature of love,î said Goldberg. ìThis is a play about tolerance and compassion. Albee asks an audience to examine their own behavior if put in a situation outside their comfort zone.î Stylistically directed, the drama depends on the intensity of the actors and their vulnerability, honesty and pain, which are powerfully portrayed by the small four-member cast. As Martin becomes more forgetful and distracted because of his newfound love, his confession seems at first to help his life come full circle. Stephen Schnetzer, who skillfully plays Martin, frighteningly deceives playgoers with the tranquility of his upscale, committed family lifestyle. As his secret is let loose, Martinís initial relief is later replaced with feelings of being misunderstood, rejected and repulsed as Stevie, portrayed by Kate Levy (who appeared on Broadway in ìThe Graduateî), projects her sarcastic wit to mask the obvious pain and disgust she feels after reading Rossís letter about the infidelity. Arena stage veteran Rick Foucheux, who appeared in the theaterís production of ìShakespeare in Hollywood,î brilliantly plays the role of Martinís confidante Ross. Immediately, Levyís genuine expression compels viewers to align themselves with the scorned Stevie. Her sophistication, support of and obvious infatuation with Martin also make him the eventful antagonist. The role of their teenage son Billy, played by newcomer Bradford William Anderson, also cements playgoersí disdain and incomprehension for Martinís complicated indiscretion. As Stevie tries to comprehend her husbandís affair, she demolishes her home in a cathartic attempt to rationalize the behavior, begging for answers and further earning the viewersí sympathy. Her humorous attempts to rationalize the situation also offer much-needed comic relief as audience members listen with bewilderment to Martinís futile explanations and excuses. Stevie, through her screams, anger and hilarious stabs at her husbandís ego, simply cannot bring herself to forgive Martin for the ìinfidelity.î Following in the tradition of Greek tragedies, for the Gods to reinstate equilibrium, a sacrifice must be made. The sacrifice that awaits the audience is one of utter shock, though viewers might empathize with it if love has ever made them feel like they could go mad. This modern play courageously tackles the uncomfortable issue of bestiality and the mysterious duality of a love that can drive to insane hate. In addition to the tragic yet humorous plot and sympathetic acting, the visual simplicity of the play is one of its many draws. The entire plot takes place in the coupleís stylish, affluent living room, where viewers can watch the events unravel in plain view. Set designer Neil Patel wonderfully creates scenery that exudes envy and stability and the clichÈ that things are not always as they seem. Arena Stage offers the intimate, close-quarter setting to engage the viewers as they seemingly intrude on the most private moments of a marriage. ìThe Goat, or Who is Sylvia,î runs through April 17 at Arena Stage, 1101 6th St., SW. Tickets are $45 to $59. For more information, please call (202) 488-3300 or visit www.arenastage.org. Fresia Rodriguez Cadavid is a freelance writer in Washington, D.C.