, a version of which is now on stage at convergence-continuum, has quite a pedigree.In 1994 it won Best Play recognition from the Drama Critics Circle and the Outer Critics Circle, the Lucille Lortel Award for Outstanding Play and the Pulitzer Prize for Drama. The one-time wunderkind of American existential theatre, his Theatre of the Absurd plays were the toast of the 1960s and 70s. ,” and writing about the off-kilter ways that people operate, many of his personal topics and references were the center point of his scripts.
What is now the Connor Palace, in Cleveland’s Playhouse Square, was one of his father’s film palaces.
Edward was raised with very conservative New England values.
When he came out to his parents as being gay, he was basically rejected.
At eighteen, like the son in , he left the Albee home, much the same way that Beau does in the play, which has many of Edward’s personal experiences chronicled in it.
Albee is quoted as saying that the play “was a kind of exorcism.” Unfortunately, he also admits, “I didn’t end up any more fond of the women after I finished it than when I started.” Obviously, he wasn’t any fonder of his parents as a result of the exorcism, but it did put him back on track for recognition by the critics, many of whom had thought he had flamed out, as his more recent plays were exercises in frustration, getting little praise.
The plot centers on the protagonist, a woman of more than 90 years of age, who reflects on her life, a life that is filled with dealing with a mother who was controlling, of going off to “the city” and living with her sister, dating many men who desired her for being a tall, attractive woman, an explanation of her sexual pleasures, marrying a man for his money, and now living in a body which she has lost the ability to control.
She recalls the wonders of early marriage, her “penguin” husband’s affairs and death, and her banning and resulting estrangement from her son.
In the first act we meet A, the tall, thin, autocratic, wealthy old woman who appears to be in early- stage Alzheimer’s, B, her mid-50s caretaker, and C, a younger woman, who has been sent in by the law firm hired to take care of A’s financial affairs.
A has not been paying bills, contends everyone is stealing from her, and is managing her estate in a state of psychological chaos.