Written in 19, when Albee was in his early 30s, these short works foreshadow 'Who's Afraid of Virginia Woolf,' the playwright's greatest masterpiece - you won't have any trouble recognizing George and Martha in Mommy and Daddy. Though hardly great theater, these one-acts give important insight into the budding playwright, and are being revived to celebrate his 80th birthday.

The vicious Mommy and the passive Daddy, two main characters in both plays, represent Albee's wealthy adoptive parents who considered him a wayward son, while Grandma, who also appears in both plays, is the embodiment of his beloved grandmother, and it is to her that 'The Sandbox' is dedicated. The plots of the plays are superficially autobiographical, referencing Albee's early life as a poor little rich boy. And we know that what we see onstage is exactly what Albee wants us to see because he directed this production himself. The big event off-Broadway this spring season is the revival of Edward Albee's 'The Sandbox' and 'The American Dream,' two bizarre one-act plays that give us insight into the thinking of the great playwright when he was a young man. With full price tickets at $60, this revival is a must only for those interested in seeing the complete Albee canon. Though these two plays are related by characters and theme, they make for an odd evening of theater. The Sandbox is all gloomy beach and funereal duds (the buff young Angel of Death is clad in a black Speedo). The American Dream is all red, white and blue.

Neil Patelï¿½s sets and Carrie Robbinsï¿½ costumes are coordinated to a fault.

But his direction here seems intent on overemphasis of the obvious. And then there is the character of ï¿½Grandmaï¿½ (Lois Merkle), both ï¿½loony tunesï¿½ and wise, whose approaching death provides the frame for the biting sarcasm that pervades both plays.Īlbeeï¿½s early talent is on display in the surrealistic atmosphere he creates and the occasionally witty dialogue. If you know nothing about Albeeï¿½s biography (adopted son who failed miserably to fulfill his rich connected parentsï¿½ expectations), the characters of ï¿½Mommyï¿½ (a perfect performance by Judith Ivey) and ï¿❝addyï¿½ (George Bartenieff)ï¿½written in acid in both playsï¿½tell you all you need to know about young Albeeï¿½s view of the elder Albees. Edward Albeeï¿½s The American Dream and The Sandbox are to many of Albeeï¿½s later plays what posters are to high art.Īs directed by Albee himself in a revival at the Cherry Lane Theater, these two one-acters from the very beginning of Albeeï¿½s career (about 1960) provide a colorful but thoroughly superficial introduction to that playwrightï¿½s take on ï¿½family values.ï¿½

Analysis of the sandbox by edward albee