George says they're just "walking what's left of their wits" but admits that "it gets pretty bouncy around here sometimes." Bouncy? For three hours in Edward Albee's atonal symphony about "total war," George, wife Martha, and their young guests have a partay-from-hell. Compass Theatre's intimate stage puts the audience in the living room, ducking when snapdragons and sadistic barbs spear across Adam Lindsay's appropriately frumpy design. Dale Morris's George may be a mediocre historian, but as a button-pusher, he's all-pro. Martha - a leonine Glynn Beddington, who not only chews the scenery (rightfully), she masticates it - may dominate him by day, but come the wee hours of Walpurgisnacht, George gives as well as he takes. As Nick, Tyler Joshua Herdklotz could reveal more ambition when his façade breaks down. Albee makes "mousy" Honey a one-note character, but Kelly Iverson plays it well. The up-close staging exposes lulls and rhythmically unstable sections, but overall, Shana Wride's direction keeps the focus true, and the stage always "bouncy."