Three Tall Women
Actually walking into a theatre for the first time in two years was a big part of the excitement of seeing Edward Albee’s ‘Three Tall Women,” directed by Diana LeBlanc with Martha Henry, Lucy Peacock, Mamie Zwettler & Andrew Iles, in the intimate The Studio Theatre, presented in two parts on the same day – think of it as a 3 hour intermission.
I wondered what changes there might be in safety protocols in the week before we would go to the show. Not having a smart phone our big fear was that only an e.ticket app would be acceptable – no paper – technology reinforcing class status so that only those with the right data plans could access entertainment.
Before we arrived I wondered if it would be like boarding at the airport after one had gone through all the pre-boarding. Well, there was no X-ray or luggage screening to deal with but we had to have all our documents in order – what’s the point of a photo i.d. if we’re wearing masks? Anyway there was no trouble getting into the theatre. Getting to our seats was a different matter – the steep incline had many people struggling up the stairs – this venue is definitely not for the mobility challenged.
So almost two years to the day we finally saw a performance at the Stratford Festival. As usual the production values were high for Three Tall Women. Good theme music, utilitarian & practical set, costumes that supported characters rather than create them. Strong cast, unfussy direction that let the play speak for itself.
The plot? In Act 1 she remembers, she gets lost in memory, a legal assistant taxes her short-term memory, her person care worker tries to keep her focused. In Act 2 the three are one person – much like the holy trinity – they are faces of her at different points in her life. Andrew Iles does a cameo as the son. The conclusion is well – I’m not sure – the conclusion is very Zen, our happiest moment is when we reach the end. Are we happy that life is over?
I didn’t end up feeling a lot of sympathy for any of the three faces, Zwettler didn’t have enough text to work with, Peacock’s character was prone to placating – when Henry’s lapses into pro-racist language we are told she doesn’t really mean it (although written 1990, in 2021 people are still doing the same thing – ‘can’t you take a joke?’). Over all, I enjoyed the show but don’t feel the need to see another production.