Historical Context
Edward Albee's plays, much like his own experiences, have been influenced by the evolving dynamics of American families. Albee was adopted by affluent parents in New England and moved through several private schools until he turned eighteen. Similar to the character of the son in Three Tall Women, he clashed with his mother about his homosexuality and eventually left home. He briefly attended college before living off a trust fund in Greenwich Village, where he launched his successful career as a playwright.
By the time he penned Three Tall Women in 1991, Albee had been in a committed relationship with the same man for over two decades. He did not live the "typical" American family life. However, considering the transformation of American families during his career, many of his audience members also did not experience traditional family setups.
Between 1970 and 1990, the average age for men to marry increased from 22.5 to nearly 26 years. Similarly, the median age for women to marry rose from 20.6 to 24 years. Alongside marrying later, many Americans opted not to marry at all. During these two decades, the annual marriage rate per 1,000 people decreased from 10.8 to 9.1.
Further altering the traditional concept of marriage, the "no-fault" divorce laws of the 1970s made ending a marriage quicker and simpler. Throughout the 1980s, one out of every three marriages resulted in divorce. By 1995, slightly over 25% of the 34.3 million families were headed by single parents, with more than one in four children having divorced parents.
Additionally, the number of unmarried couples living together almost tripled from 1970 to 1980, reaching 1.6 million. By 1995, this figure soared to 3.7 million. Unmarried births, which made up only 11% of all births in 1970, accounted for 31% by 1993.
Several reasons have been suggested for the decline of the "nuclear family" (defined as a mother, father, and children living together). One significant factor is that more women were pursuing careers instead of or before starting families.
Moreover, the greater acceptance of divorce led to higher expectations from marriage. If a person was unhappy in a relationship, they were more likely to seek a divorce to find a more suitable partner.
In the 1990s, variations of the nuclear family became more common. Single-parent households, stepfamilies, childless couples, communal living arrangements, and families with same-sex parents became increasingly prevalent.
The rise in same-sex parenting was partly due to more inclusive adoption laws. Although acceptance of homosexual lifestyles was growing, widespread societal tolerance was still a long journey ahead.
Many large corporations, like IBM, recognize cohabiting unmarried couples, including same-sex partners, by offering them the same benefits as married employees. However, numerous rights and privileges were not officially recognized. At that time, no states permitted same-sex couples to legally marry, and some states had laws prohibiting these couples from adopting children unless one partner was the biological parent.
The 1990s also marked the era of "Don't ask, don't tell." Although the United States military continued to prohibit homosexuality among its ranks, they revised military service application forms to omit questions about sexual orientation. Recruits were encouraged to maintain discretion about sexual matters, especially if they were gay.
Style and Technique
Point of View
In Edward Albee's Three Tall Women, the narrative point of view stands
as one of its most innovative features. Typically, a story unfolds through the
lens of a single narrator, who might be the protagonist, an observer, a
relative recounting history, or an omniscient voice. However, Albee's play
transcends this conventional storytelling technique, allowing the narrator to
confront her younger versions on stage simultaneously.
This narrative ingenuity creates a bifurcated play—essentially two plays woven into one. The first act introduces us to A, an elderly woman...
(This entire section contains 399 words.)
Unlock this Study Guide Now
Start your 48-hour free trial and get ahead in class. Boost your grades with access to expert answers and top-tier study guides. Thousands of students are already mastering their assignments—don't miss out. Cancel anytime.
Already a member? Log in here.
whose health is failing, alongside B, her middle-aged caregiver, and C, a young representative from her attorney's office. As the narrative unfolds into the second act, the three women are revealed as manifestations of the same woman across different life stages. Individually, the perspectives of youth, middle age, and old age are rich and evocative. Together, they form a harmonious and poignant exploration of universal human experience.
Thematic Construction
Unlike traditional plays centered on a linear plot or a protagonist's quest,
Three Tall Women eschews action-driven storytelling. Instead, Albee
crafts a dynamic tapestry of themes, each expressed through the voices of his
characters. These themes are the scaffolding of the play, as each scene unfolds
to explore a distinct idea or debate.
From the outset, the themes of age and aging are prominently established. The play’s titled "three tall women" engage in a discussion about the aging process, with C challenging A on the specifics of her age by insisting, "You’re ninety-two." This exchange sets the stage for a cascade of other themes, with the narrative shifting naturally from one idea to the next.
The theme of youth emerges as a stark counterpoint to A's struggles with aging, highlighted through her sentimental recollections of her girlhood. She fondly remembers riding horses, earning ribbons and prizes, and her close ties with her sister and mother. These memories, although fragmented, evoke the vibrancy of her younger years.
The play then transitions to another significant theme: marriage. A reflects on meeting her husband, the joy and betrayals interwoven in their life together, and the laughter they shared. Each memory contributes to the intricate thematic construction of Three Tall Women, weaving a complex portrait of a life experienced from varied perspectives. Through this thematic dialogue, Albee masterfully engages audiences in a reflection on the passage of time and the human condition.
Bibliography and Further Reading
Sources
Albee, Edward. “Which Theatre is the Absurd One?” in New York Times
Magazine, February 25, 1962, pp. 30-1, 64, 66.
Appelo, Tim. A review of Three Tall Women in the Nation, March 14, 1994, p. 355.
Bigsby, C. W. E., editor. Edward Albee: A Collection of Critical Essays, Prentice-Hall, 1975.
Brantley, Ben. A review of Three Tall Women in the New York Times, April 13, 1994.
Brustein, Robert. A review of Three Tall Women in the New Republic, April 4, 1994, p. 26.
Canby, Vincent. A review of Three Tall Women in the New York Times, February 20, 1994.
A review of Three Tall Women in the Economist, April 23, 1994, p. 91.
Esslin, Martin. The Theatre of the Absurd, Anchor Books, 1961, p. 316.
Farr, Richard. An interview with Edward Albee in The Progressive, August 1996, p. 39.
Helbig, Jack. A review of Three Tall Women in Booklist, April 1, 1995, p. 1372.
Henry III, William A. A review of Three Tall Women in Time, February 21, 1994, p. 64.
Kanfer, Stefan. A review of Three Tall Women in the New Leader, February 14, 1994, p. 23.
Lahr, John. A review of Three Tall Women in the New Yorker, May 16, 1994.
Samuels, Steven. An interview with Edward Albee in American Theatre, September 1994, p. 38.
Taitte, Lawson. A review of Three Tall Women in the Dallas Morning News, September 8, 1996.
Yoffe, Emily. A profile of Edward Albee in Texas Monthly, May 1993, p. 98.
Further Reading
Amacher, Richard E. Edward Albee, Twayne Publishers, Inc., 1969.
Amacher explores the playwright’s connection to the Theatre of the Absurd and
seeks to define his role in American theater during the initial decade of his
career.
Bigsby, C. W. E. A Critical Introduction to Twentieth Century American Drama, Cambridge University Press, 1982. The second volume in this series discusses Edward Albee’s work alongside profiles of prominent American figures like Arthur Miller and Tennessee Williams.
Bloom, Harold, editor. Edward Albee, Chelsea House Publishers, 1987. This compilation features a dozen critical essays on topics such as the language in Albee’s plays, influences on the playwright, and the psychology of his characters.
Esslin, Martin. The Theatre of the Absurd, Doubleday, 1969. Esslin’s analysis provides the framework for a new genre in American drama, placing Albee’s work in context with Samuel Beckett, Eugene Ionesco, and Jean Genet.
Kolin, Philip C. Conversations with Edward Albee, University Press of Mississippi, 1988. This is a comprehensive collection of interviews with the playwright, featuring discussions with notable playwrights, critics, and actors.
Roudane, Matthew Charles. Understanding Edward Albee, University of South Carolina Press, 1987. Part of the Understanding Contemporary American Literature series, Roudane’s study examines Albee’s artistic contributions from The Zoo Story to The Man Who Had Three Arms.
