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By Gerry McCarthy (auth.)
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Extra info for Edward Albee
Whatever love wants. Isn't it nice the way some people have manners, though, even in this day and age? Isn't it nice that some people won't just come breaking into other people's houses even if they do hear some sub-human monster yowling at 'em from inside ... MARTHA: SCREW you! Simultaneously with Martha's last remark, GEORGEfiings open the front door. HONEY and NICK are framed in the entrance. GEORGE In Who's Afraid of Virginia Woolf? and A Delicate Balance Albee does not specify the stage setting, nor the relationships of elements in the set, whose functions are made clear as the action progresses.
When I write a play I am interested in changing the way people look at themselves and at their lives. I have never written a play which was not essentially political. But it is useless to attack details or the conscious level. What you must lay siege to is the unconscious. 15 The idea of political theatre operating at an unconscious level does not commend Albee to a range of critics who do not find his politics hard-edged enough, and think that the impression emerging from his plays is naive or sentimental.
The Nurse sublimates her personal malaise in the expression of tribal hostility to the Orderly, a black whose belief in the progress of civil rights and in the New Deal she derides with an informed cynicism. The Intern's sympathy for the Orderly is similarly mocked through comparisons between the two and their willingness to court favour and financial advantage. While the black orderly works realistically to overcome his disadvantage, the white doctor remains too poor to marry. The role of the Nurse foreshadows the rich contradictions of Martha in Who's Afraid of Virginia Woolf?