A week has passes, and I still don’t think I have fully processed how I feel about this play. My immediate reaction when I was left the theater was sadness. Reflection. Contemplation about what I was doing with my life. Contemplation about what I had done, and how I would remember the intersection of those things.
This is the journey of THREE TALL WOMEN.
These women that play these three roles, they are remarkable. The immediate draw for me was Laurie Metcalf – who I love and was fresh off her 2017 win for A Doll’s House, Part 2. She even made Misery less miserable the previous season. Her resume is impressive, and her performance in this play lived up to what I have grown to expect from her: impeccable comedic timing and the perfect verbal and nonverbal delivery of dark humor in the face of tragedy.
But Glenda Jackson, she was not on my radar, and should have been. After all in addition to her extensive resume, she was a member of Parliament for 23 years. (I admit, I learned that from her Playbill Bio). She does something in this play that is hard to imagine.
She makes it OK to laugh at the process of Dementia and the physical Pains of aging.
As she shuffles and screams… cries and tells scandalous stories from her early years of marriage… she shows us a mirror of the journey we all may take, until the end of the first scene (the play is performed without intermission) when we are introduced to the true identity of these three women; who are simply listed as A, B, and C in the playbill.
Shortly into that second scene, the audience understands. And there is a collective sigh. you can almost hear people processing their own journey on the mirrors that now fill the stage, reflecting their futures against their own pasts. I won’t give it away, you should experience it for yourself. But, I suggest making a reservation at Dutch Fred’s and ordering a “Working Class Hero” when it is over. That is what I did.