Theatre Design & Technology - Oct 1966 - 50

Regular Features.

REPORTS ON THEATRE DESIGN AS THEATRE

c.

Ray Smith

A DELICATE BALANCE by Edward Albee
The Broadway season starts with a fine collaboration as
Edward Albee plays again (after three talkies) in a surgically incisive and subtly poetic drama and set designer
William Ritman composes a perfectly appropriate environment around it. Albee's latest is a sabre-swinging
family reunton of George-and-Martha types who have learned some stoic control after 20 mellowing years of maintaining a teetering cold war zone as a very delicate balancing act.

Less sharply focussed than Who's Afraid of Virginia
Woolf, A Delicate Balance is nevertheless more compassionate, more mature, and bigger in scopenboth psychologically and dramaturgically. In addition to being a
black comedy, it is in the mainstream of poetic drama in
this century. Also, the absurdist tradition is intriguingly
incorporated as the couple of visiting neighbors, like a
virtual Greek chorus, who come to stay because they
have recognized the loneliness and darkness of the heart.

Agnes, long-suffering wife of the resigned Tobias, considers
herself the fulcrum of this balance and, by extension,
their home is the seesaw. Through the six characters we
see the hairline median that Agnes believes she preserves: between insane decision and sane indecision, between petting love and killing hate, between desperate
togetherness and terrifying isolation, andnepitomizing the
conflictnbetween see-you-sometime neighborliness and inthe-sack loneliness.

William Ritman's single setting for this discontinuous parable is deceptively patent. It looks at first sight like the
ordinary neo-Georgian, Fairfield-County, olive-and-moss
drawing room. But it is too full not to be empty, too
perfect not to be malignant, too commonplace not to be
original. Everything is suburban, old-enough money, middleclass, well kept, untouched.

The taut tightrope in this social interaction is not always
a visually attractive thing. Albee couches his drama as a
drawing room comedynwhipped black-and-blue, flayed by
lacerating language--as he shows us the process of
"learning the boundaries" and the rules of this detached
togetherness. A more happy-homey poet could say that
good fences make good neighbors; Albee sears with a
freezing iron then rings concerts of laughter that make the
loneliness more acute.

Left stage is the Western middle-class opiate--alcohol-on its lacquered Oriental bar table; it alone is touched-and -constantly. Downstage right, nature and greenery are
captured in a skyview greenhouse. Between these two,
and somewhat in the upstage distance, are two arched
portalsnone the entrance foyer, the other a study-library
leading to the kitchen.
Delicately balanced, the cast of Albee's newest play includes (Left
to Right) Rosemary Murphy as Claire, Marian Seldes as Julia, Jessica
Tandy as Agnes, Hume Cronyn as Tobias, and Henderson Forsythe
as Harry. Not shown is Carmen Matthews (Photo: Alix Jaffry)



Table of Contents for the Digital Edition of Theatre Design & Technology - Oct 1966

Contents
Theatre Design & Technology - Oct 1966 - 1
Theatre Design & Technology - Oct 1966 - 2
Theatre Design & Technology - Oct 1966 - 3
Theatre Design & Technology - Oct 1966 - Contents
Theatre Design & Technology - Oct 1966 - 5
Theatre Design & Technology - Oct 1966 - 6
Theatre Design & Technology - Oct 1966 - 7
Theatre Design & Technology - Oct 1966 - 8
Theatre Design & Technology - Oct 1966 - 9
Theatre Design & Technology - Oct 1966 - 10
Theatre Design & Technology - Oct 1966 - 11
Theatre Design & Technology - Oct 1966 - 12
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Theatre Design & Technology - Oct 1966 - 18
Theatre Design & Technology - Oct 1966 - 19
Theatre Design & Technology - Oct 1966 - 20
Theatre Design & Technology - Oct 1966 - 21
Theatre Design & Technology - Oct 1966 - 22
Theatre Design & Technology - Oct 1966 - 23
Theatre Design & Technology - Oct 1966 - 24
Theatre Design & Technology - Oct 1966 - 25
Theatre Design & Technology - Oct 1966 - 26
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