Thirty-six years after its famously controversial debut, Edward Albee's philosophical puzzle Tiny Alice was back last fall, amusing and mystifying New York theatregoers. Not that Alice is ready to give up her secrets; despite the playwright's longtime insistence that his intentions are perfectly clear, the text is composed of a series of mysteries within mysteries. The difference is that, in 2001, critics now view the piece as a wicked metaphysical game, a black comedy of the mind. Tiny ...

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