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- <text id=94TT0222>
- <title>
- Feb. 21, 1994: The Arts & Media:Theater
- </title>
- <history>
- TIME--The Weekly Newsmagazine--1994
- Feb. 21, 1994 The Star-Crossed Olympics
- </history>
- <article>
- <source>Time Magazine</source>
- <hdr>
- THE ARTS & MEDIA, Page 64
- Theater
- Albee Is Back
- </hdr>
- <body>
- <p>After years of literary exile, an autobiographical stunner
- </p>
- <p>By William A. Henry III
- </p>
- <p> He never really went away--he just turned to places like
- Houston and Cincinnati, where his name still conjured respect
- rather than condescension toward the no longer voguish--but
- Edward Albee has labored without the New York limelight for
- nearly two decades. If there is justice, that will end this
- week, when his stunning Three Tall Women opens off-Broadway.
- Out of the simplest and most familiar material--a woman of
- 90-plus years coping with the infirmities and confusions of
- the moment and looking back on a life of gothic excess--Albee
- fashions a spellbinder. Just when he exhausts the potential
- of naturalistic melodrama, a brilliant gimmick, part special
- effect and part structural surprise, lets him move into deeper
- philosophical terrain.
- </p>
- <p> Myra Carter caps a long career with a dazzling portrait of a
- dowager, whom she plays both in full command of her gilded domain
- and at the breaking point of senile decay. Marian Seldes, who
- won a 1967 Tony Award in Albee's A Delicate Balance, has never
- been better as a protective but peevish nurse-companion in the
- first act and the dowager herself in the second, which is a
- fantasy conversation among embodiments of the same woman at
- three stages of life. Jordan Baker, who plays a young lawyer
- and then the dowager at a callow 26, looks gorgeous but hasn't
- a clue what to do with either of these somewhat underwritten
- roles.
- </p>
- <p> Albee is exorcising his own demons in having the dowager deny
- her homosexual son. Strikingly, he keeps the son mute and gives
- the mother her uninterrupted say. The counterpoint between his
- deathbed devotion and her strident evocation of a showdown years
- before could feel contrived. Like all of this chamber masterpiece,
- it is nuanced and heartbreaking.
- </p>
-
- </body>
- </article>
- </text>
-
-