The renowned Brooks Atkinson called it 'a preposterous allegory, signifying something portentous about the vulnerability of human beings.'Īndy Warhol at the height of his Manhattan avant-garde gurudom did like it 'because it is so empty.' Another artist, sculptor Louise Nevelson, was so entranced by the central stage metaphor, a castle within a castle, that she created a series of dream houses. The critics, though they agreed that Albee was an outstanding talent, gave Tiny Alice a less than enthusiastic welcome. In turn, Albee, even though he felt only British actors could handle his play's difficult language, criticized the very British Gielgud for being 'petulant' and 'too slothful or frightened to learn and perform the work.' Gielgud complained that he didn't know what it was about and that Albee would not tell him. John Gielgud, who had the lead role of Brother Julian. When Tiny Alice opened on Decemat the Billy Rose Theater audiences didn't know what to make of its puzzling symbolism.

Have audiences matured or times changed sufficiently to clarify this macabre mystery about a young man of the church who becomes the pawn in a Faustian bargain between his cardinal and a seductive wealthy woman and her lawyer? Before I answer that, some background. With Edward Albee's new drama, The Play About the Baby, slated to begin previews at the Century Center next month, the Second Stage's revival of Albee's controversial Tiny Alice is as timely as it is interesting.

The Internet Theater Magazine of Reviews,

Tiny Alice by Edward Albee