The success of this play is very much in the hands of its actresses. (There is one actor, but he has no lines and serves mostly as an object to be discussed.)

In its American premiere the play benefited from the extraordinary talents of the likes of Myra Carter and Marian Seldes. Their skills may have obscured the repetitiveness of the material and emphasized the theatricality of the concept of having three actresses portraying three stages of the same woman’s life talking to each other about important moments in "her" life.

In this production, Leah Mazade is the elderly one and she is frequently absorbing and always effective. Eve Young is the middle-aged one and she is occasionally intriguing, especially with the more humorous moments. Diana Jellinek is the younger, less formed and thus less interesting youth. She makes of the part about all that can be made of it.

But collectively, they can’t make the first act rise out of the verbose morass that Albee created as he set up the conceit for the second act. That second act is the more entertaining of the two but, by that time, many of the points Albee has to make have been made two – or three (or four) – times.