Me, Myself, and I

"Me, Myself, and I," which premiered in Princeton at the McCarter Theatre two years ago, is now making its New York premier at Playwright's Horizons. Edwards Albee's latest play--written as he approached his eighties--is not the heavy fare of is "Who's Afraid of Virginia Woolf?" days. Instead, "Me, Myself, and I" is an absurdist comedy that draws its laughs through wordplay and jokes about dramatic conventions. Indeed, it seems as though the character of the Doctor's only role is to point out double meanings and correct others' grammar to comic effect. As one character threatens that his dad will come back on a carriage led by black panthers to usurp the Doctor's role in the house, the Doctor remains unfazed. He simply asks, "Black Panthers? Even today? I didn't know they were still around."

In addition to being aware of grammar, the characters are excruciatingly aware of the fact that they're in a play--a fact which they enjoy pointing out. From the beginning, Albee allows his characters to speak directly to the audience. Standing alone in front of the proscenium, Otto asks "Do you like my mother?" In one scene depicting a picnic on a nearly bare stage, the Doctor remarks, "It's strange how things just disappear around here."

The reason I haven't mentioned the plot yet is because the plot is not the point. If you must know, the plot involves a set of twins, both of whom are named Otto. The only difference is that one is OTTO (Zachary Booth), the other otto (Preston Sadleir). Their mother (Elizabeth Ashley) is a bit of a crazy person whose husband left her right after she gave birth. Now, twenty-eight years later, she still can't tell the twins apart aside from the fact that one of them loves her and the other doesn't. She also resides with her Doctor. The action in the play revolves around tight few days following OTTO's announcement that he has a new brother, and thus, otto no longer exists.

While this set-up ostensibly could lead to some profound examinations into the nature of self and individuality, "Me, Myself and I" doesn't take itself anywhere near seriously enough to form some grand synthesis on these ideas. Instead, it gently jabs at the audience with its comic approach. Although otto goes around asking people "Do I exist?" in an increasingly shrill manner, we're never in doubt of his physical existence. What we are in doubt of is his ability to be whole without his brother. The relationship between OTTO and otto is only an extreme example of any close human relationship. At one point, OTTO complains that otto is a shadow that constantly stalks him. Any audience member who has felt responsibility for another person can empathize.

Albee is also interested in goodness. OTTO is ostensibly the evil twin, and otto the good. However, neither can fully embody his designated trait. Albee does not take this idea very far, though, and asks the viewers to draw their own conclusions. Overall, Albee's technique effectively asks us to contemplate some deep issues in a way that won't tax your little grey cells.