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TIME: Almanac 1995
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TIME Almanac 1995.iso
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1995-02-24
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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>