The word "absurd," which literally translates to "out of harmony," was utilized by existentialist Albert Camus to describe the situation of modern individuals whose lives appear meaningless as they navigate through an indifferent universe. Virginia Woolf examines the effects on people when they can no longer depend on the illusions that once gave their lives meaning. The theme of absurdity often surfaces in Albee's plays, highlighted by frequent references to the theatre of the absurd in analyses of his work. Albee describes absurdity as "man's struggle to find meaning in a senseless world, where the moral, religious, political, and social structures he created to fool himself have collapsed." A powerful example of life's absurdity is captured in George's speech early in the second act, where he concludes that despite all efforts to construct a civilization, when the final moment arrives, amidst the "sensible sound of men building," the message to humanity will be, simply: "Up yours."

Albee's early works offer a critical perspective on the optimism and conformity prevalent in the 1950s, as well as the materialistic values that flourished in America during the economic expansion following World War II. His play, The American Dream, as the title implies, tackles this theme head-on. In Who's Afraid of Virginia Woolf?, Albee further critiques the ideals meant to imbue life in Western civilization with meaning. The deliberate historical reference to George and Martha Washington underscores the play's examination of the myths and self-delusions that Albee identifies as part of American mythology. The deterioration of the American Dream, alongside the nation's decline, is a recurring motif in Virginia Woolf. George observes: "We drink a great deal in this country, and I suspect we'll be drinking a great deal more, too ... if we survive."

The title itself highlights fear as a key theme in the play. Martha's admission of being afraid of "Virginia Woolf" at the play's conclusion represents a profound human fear of life's lack of inherent meaning. To genuinely feel fear, one must let go of the illusions that once appeared to give life purpose. The play illustrates Martha's fear, along with George's, which he quietly acknowledges, as a process that affirms life. It implies that facing and overcoming fear is better than living a falsehood.

The urge for revenge strongly influences George and Martha's actions. They are both perpetually on the lookout to retaliate against past perceived slights or insults. George's choice to "kill" their fictional son is a deliberate move, intended as the ultimate revenge for numerous public and private humiliations, especially Martha's violation of a crucial rule in their relationship by bringing up the son to Honey. In the end, though, this act of "killing" the son is more of an empathetic gesture, an essential step to free both George and Martha from their destructive illusion.

The play hints at a broad trend toward impotence and depersonalization in the declining Western world. George, a historian and humanist, blames this on scientific advancements. He imagines a dystopian future, forming the basis for his criticisms of Nick, the biologist. Through genetic engineering, "All imbalances will be corrected, sifted out.... We will have a race of men... test-tube bred... incubator-born... superb and sublime... But! Everyone will tend to be rather the same.... Alike." Whether George's perspective is consistently reflected in the play is open to interpretation. However, as American culture at the time was becoming more uniform due to technological innovations like television, which established standards for looks and conduct, Albee's resistance to this trend is clear in his work.

Martha challenges George by saying, "Truth and illusion ... you don't know...