The American Dream

by Edward Albee

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Summary

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Edward Albee's The American Dream marks his fourth theatrical endeavor, having first graced American stages at the York Playhouse on January 24, 1961, where it enjoyed a 370-performance run. This play, unlike Albee’s earlier work The Zoo Story, explores absurdism through its characters and narrative. The satirical play seeks to critique the value systems and emotional disconnections within American society.

Structure and Characters

The play is divided into three main segments, encompassing eleven interactions among the characters. In the opening segment, the family dynamic is laid bare as Mommy, Daddy, and Grandma debate whether Grandma should be confined to a nursing home. Following this, the play introduces Mrs. Barker, a social acquaintance of Mommy and a former employee at the enigmatic Bye-Bye Adoption Service. The concluding section reveals Young Man's entrance and Grandma’s spirited attempts to avoid institutionalization.

Absurdity of the American Lifestyle

Albee crafts a narrative that portrays the celebrated "American Way of Life" as fundamentally absurd. He illustrates how standard human emotions and relationships among Americans have become devoid of substance. Characters perform routine gestures of affection and social courtesy without engaging any genuine feelings. While the characters interact verbally, they remain isolated within their personal realities, emphasizing the hollow repetition of their "endearments."

Plot and Symbolism

Mommy and Daddy await a repairman to fix a household issue, while Mommy narrates a tale about a hat that changes color under the influence of Mrs. Barker, suggesting societal conformity. Grandma enters with a collection of meticulously wrapped boxes, symbolizing her hidden complexities and resilience. Upon learning of Mommy's intentions to place her in a home, Grandma defiantly resists, revealing family tensions and Mommy's youthful aspirations of wealth gained through marriage.

Critique of Matriarchy and Family Dynamics

Albee satirizes the perceived matriarchal control and the ineffectiveness of traditional family structures. The theme of sterility pervades the work: Mommy and Daddy are childless, and Daddy's character appears feeble next to the domineering Mommy. Grandma alone challenges Mommy's authority with her moxie. The entrance of Mrs. Barker, the social maven, further unravels the family’s past, exposing the tragic fate of a previously adopted child who could not meet the family’s contrived standards.

The Young Man: Embodiment of the Dream

The arrival of the Young Man, a striking yet intellectually void character dubbed “The American Dream” by Grandma, shifts the narrative. Aspiring to be a film star, the Young Man is motivated by financial gain. He shares a story of losing an identical twin in childhood, symbolizing his sense of incompleteness. With Mrs. Barker's approval, Mommy and Daddy embrace the Young Man as their new adoptee, relocating him to Grandma’s vacated space and planning to fulfill his role as Mommy’s partner.

Conclusion and Critique

The play concludes with Grandma offering a poignant monologue: "So, let’s leave things as they are right now . . . while everybody’s happy . . . while everybody’s got what he wants . . . or everybody’s got what he thinks he wants. Good night, dears." This closing underscores the superficial contentment that pervades the characters’ lives. Although The American Dream lacks the seamless execution of Albee's The Zoo Story, and despite its length and occasional verbosity, it effectively critiques the vacuous nature of American cultural ideals.

Albee's Commentary on Society

Despite structural imperfections, Albee deftly exposes the illusion of the American Dream by dissecting the images propagated by media and politics. He reveals their emptiness, challenging the audience to reevaluate the meaning and value of the societal norms they uphold. Ultimately, Albee’s work serves as a bold commentary, inviting viewers to question the authenticity of their lives and relationships.

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