Characters
A
A is the "tall woman" referenced in the play’s title. Representing the older
version of B and C, A is a fascinating mix of contradictions. In the first act,
under the care of B and C, she oscillates between being childish and dignified,
as well as between panic-stricken and stoic.
A's dialogue is often laced with crude, prejudiced remarks. She refers to the Italian man her sister married as a "wop." The household servants from her childhood "knew their place; they were polite and well-behaved; unlike those uppity city niggers."
A's intolerance has deeply affected her relationship with her gay son. She was repulsed by his lifestyle and sexual orientation, prompting him to leave home. They did not see each other for two decades, something she ultimately regrets.
In the second act, Albee offers a more compassionate view of A. As she observes her own dying process, she interacts with her younger selves, gaining at least a grudging respect and admiration for her long life. Through her character, Albee suggests that old age offers a unique understanding of the human experience and prepares us for death. "That’s the happiest moment," A states in the play's final lines. "When it’s all done. When we can stop. When we can stop."
B
B is revealed to be two distinct characters. In the first act, she serves as
A’s live-in caretaker. In this capacity, she assists the older woman with
eating, dressing, moving around, and using the bathroom. She also acts as a
mediator between A and C, the youngest of the women. While C sees A's behavior
as pathetic and absurd, B is more understanding.
In the second act, B represents the "tall woman" at fifty-two years old. She can look back on the first half of her life with some objectivity. She advises C to accept life's challenges and injustices. While C is idealistic and A is resigned, B is cynical. For example, although her marriage is unhappy, she is practical; she chooses financial stability over sexual fidelity.
Despite her challenges, she insists that middle age is the best time of life. "This must be the happiest time," she tells A, C, and the audience, "half of being adult done, the rest ahead of me. Old enough to be a little wise, past being really dumb."
The Boy
The Boy is the estranged son of the ‘‘tall woman.’’ He is mentioned in the
first act but only makes an appearance in the second act for a brief moment.
During this time, he sits silently at his mother's bedside following her
stroke. The audience learns from A and B that the boy is gay, which his mother
did not accept, along with his lifestyle choices. During his teenage years, an
argument with his mother led her to threaten him with eviction. Feeling
rejected and betrayed, he chose to leave on his own. As a result, they remained
estranged for two decades.
C
In the first act, C acts as A’s lawyer, visiting to address business matters.
It appears that A has neglected to sign all her checks and pay her bills,
prompting C's visit to organize her finances.
Despite her professional capacity, C is sharply critical of A’s character. She disputes A’s true age, mocks her for her poor memory, and takes offense at her prejudiced remarks.
However, by the end of the first act, C's attitude begins to shift. Observing A struggle with simple tasks, like using the bathroom, elicits sympathy for her plight. When A suffers a stroke, C appears genuinely concerned for her well-being.
In the second act, C embodies the ‘‘tall woman’’ during her youthful prime. She is young and filled with idealism. She is unwilling to accept the future described by A and B and cannot fathom marrying a man she doesn't love or driving away her son.
Whereas A represents experience and B embodies cynicism, C is the epitome of hope. Despite warnings about future challenges, she confidently declares, ‘‘I know my best times ... haven’t happened yet. They’re to come. Aren’t they?’
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