arched entryway. Albee provides remarkably few other details about the set, but the fact that the room is “well-appointed” indicates that it should reflect its residents’ affluence, class, and taste. However, their affluence provides no protection against a family implosion—the imminent psychological collapse that Agnes fears, the gray ineffectualness of Tobias, the failure of their daughter Julia’s four marriages, the alcoholism of Agnes’s sister Claire.

Outside the walls of the house looms an equally terrifying if less readily definable menace that draws Agnes and Tobias’s friends Edna and Harry into their home to seek haven as well. After eating dinner at their own home, they suddenly and unaccountably became frightened and can no longer endure remaining alone in their house. Agnes offers them Julia’s room for the night, and they retire. What troubles Edna and Harry is an overwhelming meaninglessness, a realization of the “absurd,” a glimpse of the existential void.

Other playwrights treated similar themes in the decade preceding A Delicate Balance. What Albee did was to domesticate this theme, presenting a more affluent American setting and characters from whom, presumably, primarily middle-class theatergoers in the United States would feel less estranged and by whom they would be at least initially less discomfited.

The tone of Albee's play A Delicate Balance mirrors the societal atmosphere of the late 1950s. During this postwar period, American culture experienced a mix of contrasting messages. The older generation was focused on maintaining a polished social image, while the younger generation practiced school drills to protect themselves from the potential radioactive fallout of atomic bombs. During this era, parents, particularly mothers, were heavily influenced by Emily Post, a socialite writer synonymous with social etiquette. Her books, such as 101 Common Mistakes in Etiquette and How To Avoid Them, Etiquette in Society, in Business, in Politics, and at Home, and The Secret of Keeping Friends, portrayed success in life as a result of charm, proper manners, and polite speech. Television, which was beginning to shape American society, featured shows like Ozzie and Harriet, Leave It to Beaver, and Father Knows Best. These programs showcased idealized families living in well-kept homes, where family members neither raised their voices nor deviated from their expected roles. Essentially, these TV families embodied Emily Post's standards. With such role models, parents generally taught their children to suppress their emotions, control their speech, and avoid confrontation. The socially acceptable behavior was to comply rather than cause a scene.

Meanwhile, Americans were becoming more aware of the harsh realities of war, wary of the conformist mindset that enabled the rise of Nazism in Germany, and suspicious of Senator McCarthy's anti-Communist crusade. The younger generation began exploring radical changes. Even if most teenagers couldn't pinpoint their discontent, a growing number of writers and artists could. Among them was British playwright John Osborne, whose debut play Look Back in Anger made a significant impact on British theatre, similar to the influence of Albee's first play Zoo Story on American theatre. Osborne was part of the Angry Young Men, a term used for English writers of the 1950s who expressed social alienation and rejected outdated bourgeois values. Osborne's plays lacked rules and social etiquette, shocking the older theatergoers and influencing many American writers.

During this same time in the United States, a group of writers known as the Beat Generation emerged. Their works criticized the conformity of the 1950s. Allen Ginsberg and Jack Kerouac, two prominent Beat Generation members, explored different forms of language and expression, aiming to capture a sense of spontaneity in their writing.

During the 1940s and 1950s, a theatrical genre known as Absurdist Theatre gained popularity. Renowned French playwright Eugene Ionesco was celebrated for his absurdist works, and his influence extended to American theatre. Emerging actors and playwrights initiated off-Broadway productions, allowing them to explore new and experimental plays. By minimizing production costs and opting for unknown actors over celebrities, producers could present intriguing theatre at affordable prices. This approach aligned perfectly with playwrights who embraced the absurdist style, showcasing it in its entirety or partially, sometimes even featuring incomprehensible dialogue. Absurdist plays often lack logical connections, rendering everything meaningless. Edward Albee’s early works, like Zoo Story, are categorized as absurdist due to their irrational components. Albee’s contemporary, Harold Pinter, is also identified as an absurdist, along with Samuel Beckett, who served as a mentor to Albee.

Positioned between a romantic or idealized perspective and the irrational absurdist viewpoint is realism. In the 1950s and early 1960s, plays leaning towards realism tended to achieve commercial success. This was evident with two of Albee’s plays from that era, Who’s Afraid of Virginia Woolf? and A Delicate Balance. Realist plays focus on the everyday aspects of life, emphasizing current, specific actions. A realist writer uses straightforward language to highlight the characters’ inner selves. Albee’s clear prose reveals his characters’ psychology, even as they attempt to conceal it from others or themselves. This style provided Albee with a means to explore his challenging and sometimes overwhelming relationship with his mother, who frequently appears in his plays, such as Agnes in A Delicate Balance.

Setting

The entire play unfolds in a single room, described as "the living room of a large and well-appointed suburban house." This room features a bar, fully stocked with various liquors. Although the time transitions from Friday night to Saturday evening, then later on that same Saturday, and finally to early Sunday morning, the setting remains unchanged. This room serves as the central hub of the house, where all characters gather to discuss and dispute the living arrangements in other parts of the home.

Dialogue

In this play, few dialogue sections are presented without accompanying script directions, which are written in italics inside parentheses preceding the spoken lines. While it's typical for playwrights to provide some guidance on how dialogue should be delivered, Albee offers these instructions quite extensively and with precision. For example, in the opening scene, he describes how Agnes should deliver her first lines: “(Speaks usually softly, with a tiny hint of a smile on her face: not sardonic, not sad...wistful, maybe).” For a later line spoken by Tobias, Albee instructs the actor to say it as follows: “(Very nice, but there is steel underneath).” In one of Claire’s lines, Albee advises the actor to speak, “(to Agnes’ back, a rehearsed speech, gone through but hated).”

Albee’s detailed directions for nearly every line of dialogue highlight that he has specific psychological intentions behind his words. He understands the characters’ thoughts and emotions and wants to ensure the actors convey them accurately. He does not allow actors to interpret the play independently. He uses phrases like “quiet despair,” “surprised delight,” “slight schoolteacher tone,” and “the way a nurse speaks to a disturbed patient.” Often, he includes instructions on how actors should position their hands, turn their heads, or alter their facial expressions, such as narrowing their eyes. The most extensive script note Albee provides appears toward the end of Act 3, preceding a monologue by Tobias. Albee’s instructions read:

(This next is an aria. It must have in its performance all the horror and exuberance of a man who has kept his emotions under control too long. Tobias will be carried to the edge of hysteria, and he will find himself laughing, sometimes, while he cries from sheer release. All in all, it is genuine and bravura at the same time, one prolonging the other. I shall try to notate it somewhat).

Indeed, he does.

Dilemma

The play revolves around the central dilemma concerning Harry and Edna's predicament. Their situation is the main focus for all the characters, including Harry and Edna themselves. Albee uses this dilemma to stir emotions among the characters. As they deliberate on how to address the issue with Harry and Edna, a series of discussions or debates unfolds, gradually intensifying the emotional stakes. Each character has their own interpretation of the dilemma and a unique approach to resolving it. The tension escalates as emotions heighten, leading the characters toward a climax or a pivotal moment of truth. This moment is most significantly expressed through the conversation between Tobias and Harry, highlighting a friendship based more on rights and responsibilities than love and affection. Ultimately, Harry and Edna choose to return home, thereby resolving (or at least easing some of the tension of) the dilemma.

1930s: Alcoholics Anonymous (AA) is established in Cleveland, Ohio, and within four years, its membership reaches 100 individuals.

1950s: The Twelve Step program of AA provides a method for those struggling with alcoholism to confront their addiction. It is estimated that AA now has over 100,000 members.

Today: AA's membership has expanded globally, encompassing over 2 million individuals.

1930s: Dogs and cats wander freely without regulations, facing no protection from human-inflicted cruelty.

1950s: The American Humane Association is established to safeguard animals.

Today: It is estimated that more than 40,000 dogs and cats are euthanized daily in various animal shelters and veterinary clinics across the United States.

1940s: During World War II, women assume more independent roles in American society, leading to a decrease in birth rates and an increase in divorce rates.

1950s: It is reported that there are over one million divorced individuals residing in the United States.

Today: Each year, approximately 2.5 million new names are added to the divorce registry, with an estimated total of over 20 million divorced individuals living in the United States.

In 1973, a film adaptation of Albee's A Delicate Balance was brought to life under the direction of Tony Richardson. The movie features a stellar cast, including Katharine Hepburn, Paul Scofield, Lee Remick, and Joseph Cotton.

Sources

Adcock, Joe, ‘‘Production a ‘Delicate Balance’ of Dreadful Characters, Excellent Acting,’’ in Seattle Post-Intelligencer, January 26, 2001.

Amacher, Richard E., ‘‘A Success Story,’’ in Edward Albee, Twayne Publishers, 1969, pp. 15–25.

Berson, Misha, ‘‘Balance Filled with Angst over Drinks,’’ in Seattle Times, January 17, 2001.

Brustein, Robert, ‘‘A Question of Identity,’’ in New Republic, August 30, 1999.

Canby, Vincent, ‘‘Theater Review; An Albee Horror Story, Set in a Drawing Room,’’ in New York Times, April 22, 1996.

Clurman, Harold, ‘‘Albee on Balance,’’ in New York Times, November 13, 1966.

DeVine, Lawrence, Review of A Delicate Balance, in New York Times, August 15, 1999.

Drukman, Steven, ‘‘Won’t You Come Home, Edward Albee?’’ in American Theatre, December 1998.

Farr, Richard, ‘‘Edward Albee,’’ in Progressive, August 1996.

Kerr, Walter, ‘‘The Theater: Albee’s A Delicate Balance at the Martin Beck,’’ in New York Times, September 23, 1966.

Kolin, Philip C., ed., Conversations with Edward Albee, University of Mississippi Press, 1988.

McCarthy, Gerry, ‘‘A Delicate Balance,’’ in Edward Albee, St. Martin’s Press, 1987, pp. 79–97.

Review of A Delicate Balance, at http://www.circletheatre.com (March 1999, archives; last accessed September 2001).

Further Reading

Bloom, Harold, ed., Edward Albee, Modern Critical Reviews, Chelsea House Publishers, 2000. Edited by renowned critic Harold Bloom, this book offers readers a thorough and collected history of literary interpretations of Albee’s work.

De La Fuente, Patricia, ed., Edward Albee: Planned Wilderness—Interview, Essays and Bibliography, Pan American University Press, 1980. This book is an excellent resource for a detailed background on Albee and his works.

Gussow, Mel, Edward Albee: A Singular Journey: A Biography, Applause Theatre Book Publishers, 2000. This biography is praised for its clarity and objectivity, with Gussow exploring Albee’s personal and professional life through the perspective of both a theater critic and a personal acquaintance. The book draws from research and interviews with Albee, his colleagues, and friends, providing valuable insights into the extensive career of this American playwright. Gussow has also authored books about Harold Pinter and Samuel Beckett, two dramatists who have influenced Albee’s work.

McCarthy, Gerry, Edward Albee, St. Martin’s Press, 1987. McCarthy offers an in-depth analysis of Albee’s theatrical works.