See it if You want to see a great play performed brilliantly. It will make you look at life perhaps as you’ve never done before.
Don't see it if The only reason I can think of to not see this play would be if you wanted to see a light fluffy show or a musical instead. This is great.
See it if Age 25, 55 & 90 year old women discuss life. Insight into the human condition, delivered with humor and flair. Wonderful staging.
Don't see it if You don't enjoy philosophical talk about stages of life. You don't want to hear explicit sexual talk. Read more
See it if you can! Breathtaking drama beautifully written and performed.
Don't see it if you have extreme issues with aging, illness or death.
See it if you want to see fantastic acting, delicious humor, in a slyly mysterious but rewarding plot, precision staging, a beautiful set and Glenda!
Don't see it if you're not an Albee fan, you don't like plays that have slightly unusual plots or 1 hour 40 minute intermissionless shows Read more
See it if you want to see 2 towering women (Jackson, Metcalf) mesmerize in a perfectly reimagined production of Albee's classic that feels fresh & new
Don't see it if you want to miss the best revival of the season & the long-overdue return of Glenda Jackson to Bway in a masterful performance. Read more
See it if About one women up and down of life. About life for everyone, we see life different as we age.
Don't see it if Some of language may bother you. Deals with death. All in all it's a great show.
See it if Incandescent! A production that will be referred to as "legendary" years hence Jackson, Metcalf & Pill dazzle in Albee's late career gem...
Don't see it if Mantello's crystalline staging highlights the mordant humor & bleak existentialism while Buether's 'hall of mirrors' set nails the absurdity
See it if you enjoy shows featuring strong female characters.
Don't see it if you prefer a narrative. This show is a reflection on one woman’s life. The dialogue meanders as she jumps from one story to another.
"A torrentially exciting production...Joe Mantello’s chic, devastating staging was worth the wait...'Three Tall Women' is rigorous but also generous, even loving, to its characters — and audience...That doesn’t mean this is a perfect play...Still, time has been good to 'Three Tall Women,' and Mantello’s production further burnishes its insights and confirms its originality...A play that despite its frailties and wrinkles has aged beautifully, into a burning, raving classic."
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"Glenda Jackson gives a towering performance in the exquisite new revival...Jackson tears through the grandeur and pathos with ferocious command...In the central coup de théâtre of Joe Mantello’s scalpel-sharp production, Miriam Buether’s gorgeous set opens up to create a new space of phantoms and mirrors...What makes Albee’s play so moving is not that all three are the same woman; it’s that all three of them are us. Together, they create a singular experience at the theater."
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"This revival of 'Three Tall Women' really is a staggering example of precisely what a dramatic actor does onstage. Actually three examples...Since there’s very little action, the play is exceptionally dependent on the expressiveness of the three actors...Jackson has done a lot of smart comedy as well as classical dramatic roles, and she makes the most of the laugh lines that Albee sprinkles throughout the dialogue."
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"Mantello draws on Jackson's staunchness, but her characterization, like that of the other actors, comes not from inside...but from previous performances...A production that favors the flash of show biz over the complications of the flesh...They parade around Buther's overdone set like angsty marionettes, which the director uses to distract us from a story that Albee wrote from the heart."
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"Stage acting doesn't get any better than Glenda Jackson's performance as the autocratic nonagenarian in Edward Albee's 'Three Tall Women'...It's an almost ridiculous luxury that in Joe Mantello's crystalline production of this brittle but moving play about death and self-knowledge, two such accomplished actors as Laurie Metcalf and Alison Pill become supplementary dividends."
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"Far from an easy evening of theater, despite being a swift, intermission-less hour-and-a-half...Many of the hallmarks of great Albee — pitch black humor, verbal takedowns, delightfully indulgent cynicism — are initially in short supply here...It is an imperfect play, but there are two excellent reasons to see 'Three Tall Women': Jackson and Metcalf."
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"Watching Glenda Jackson in theatrical flight is like looking straight into the sun. Her expressive face registers her thoughts while guarding her feelings. But it’s the voice that really thrills...This is a punishing play. The sentiments are cold and steely, and even though the language is beautiful, it is fierce...If there is one thing Jackson is not, it is sentimental. There are lines that some thesps would milk like a cow. But not Jackson, with her commitment to truth in performance."
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"It’ll be a long time before 'Three Tall Women' is performed by a better cast...A conversation piece set in the bedroom of a rich, senile woman...That’s all there is to 'Three Tall Women,' but it’s enough. Mr. Albee has given his three women fascinating things to say about the character whom they collectively embody...Ms. Jackson gives an acrid, wised-up performance that is as pointed as you’d expect from so celebrated an actor. It’s no better, though, than that of Ms. Metcalf."
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