background image

Biography -  Edward Albee 

Albee was born on March 12, 1928, in Washington, D. C., and adopted at the age of two weeks 
by Reed and Frances Albee, who named him Edward after Reed’s father. This elder Edward held 
a substantial business interest in a chain of vaudeville theatres, and the family was very wealthy. 
Young Edward’s early years were spent among servants, nurses, tutors, as the family alternated 
between stays in the mansion in Larchmont, New York, and extended winter holidays in Florida. 
He had, it seems, few friends his own age, but he did own a variety of pets – cats, guinea pigs, a 
St. Bernard. 
His parents were, in several ways, a unique couple. His father, Reed, was a small, quiet, 
apparently unassertive man. Frances Albee, on the other hand, seems to have been loud, 
aggressive, domineering. She was also twenty-three years younger and a foot taller than her 
husband. Other of Albee’s biographers usually stress her love of riding and suggest that her usual 
daytime wear was jodhpurs and a riding crop. Young Edward, who disliked riding, apparently felt 
more at home with his grandmother (Mrs. Albee’s mother). 
Albee’s school record was, in the conventional sense, a very bad one. Sent to a boarding school at 
the age of eleven, he was eventually dismissed from it for cutting classes, ignoring his academic 
work, not playing compulsory sports, and general bad behaviour. To encourage him toward 
greater self-discipline, his mother sent him to the Valley Forge Military Academy. Albee’s 
conduct, however, was apparently a problem that the resources of the academy were not designed 
to cope with, and he left that school too, at the school’s request. His next school was Choate, 
where, it seems, the atmosphere was more congenial to him. For one thing, the school did not 
practice repressive discipline; for another, his teachers were ready to encourage him to write. 
Albee had written stories and poetry even before first going to boarding school, but now his 
output increased. He wrote enthusiastically, sometimes for as many as eighteen hours a day, 
completing during his time at Choate many stories and a full-length novel. One of his poems was 
published in a Texas ”little magazine,” Kaleidoscope, and others appeared in the Choate Literary 
Magazine, as did his play Schism. 
Graduated from Choate in 1946, Albee entered Trinity College in Hartford, Connecticut, but did 
not remain there long. He also spent some months, at various times, at Columbia and Washington 
Universities. 
Between leaving Choate and his final departure from his family, Albee seems to have lived the 
life of a country socialite. At one point during this period he was engaged (he is still a bachelor). 
Also while still at home, he took his first job, at the age of nineteen, writing continuity for a radio 
station. But life with his family, according to all accounts, had become a running battle over 
minor incidents, and in 1948 he left, for good, for New York City. At first, at least, his 
independence was bolstered by a $250-a-month allowance from his paternal grandmother’s 
estate.

1

 Within a year he had moved in with the composer William Flanagan, and he and 

Flanagan shared apartments for the next several years. Through Flanagan, Albee was able to 
move among musical and literary circles. (At one time W. H. Auden suggested he write 
pornography to correct his style; at another, Thornton Wilder read his poetry and suggested he 
write plays.) 
During the years between leaving home and becoming a professional playwright, Albee held a 
succession of jobs: waiter, bartender, office boy, salesman in Gimbel’s department store and in 

                                                            

1

 As yet, there is no definitive biography of Albee, and various accounts of his life differ, sometimes substantially. Of 

those listed in the bibliography, Amacher and Bigsby say that the allowance continued uninterrupted. Gould states 
that it ended after about a year. 

background image

Bloomingdale’s and, for three years, a Western Union delivery messenger. He wrote, he spent 
hours in the coffeehouses of Greenwich Village, and he went to plays whenever possible, his 
favourites being those of Tennessee Williams. 
By early 1958 this mode of existence had lost its savour. Albee became gloomy, depressed. He 
was almost thirty, and had accomplished nothing of importance. In part, one presumes, to help 
himself live through this state of mind, he wrote a play – The Zoo Story. 
He sent the play on the rounds of theatrical producers’ offices in New York, from which it 
returned, universally rejected as too short, too experimental. Flanagan, however, liked the script 
and sent it to a friend in Italy, who passed it on to a friend in Switzerland. After a grand tour of 
the postal systems of Europe, being passed from friends to friends of friends – full details are 
contained in the Preface to the paperback edition of The Zoo Story – the play was accepted for 
production, and was given its first performance in Berlin, on September 28, 1959. 
The Zoo Story subsequently was staged in a dozen other German cities, and early in 1960, saw its 
first American performance. Albee’s career was most definitely launched, and just at a time, too, 
(his thirtieth birthday) when he received a sizeable inheritance. 
Since becoming a public personage, in the sense that he is well known, Albee’s personal life has, 
properly, become his own, and the importance of his life as such has decreaeed with the increased 
interest in, and study of, his works. After the commereial success of Virginia Woolf (Warner 
Bros. reportedly paid $500,000 for the film rights), he bought a large house on Long Island as a 
quiet place to work, collected works of art, and went on a United States State Department lecture 
tour of the Soviet Union. Virginia Woolf won the New York Drama Critics’ Award for 1962, but 
not until 1966 and A Delicate Balance – a play of less colourful language – was Albee given the 
Pulitzer Prize for drama. He has an honorary doctorate from Emerson College in Boston, and 
back in 1960-1961 he collaborated in the writing of an unsuccessful operatic version of Herman 
Melville’s story Bartleby. 
Of greater interest and significance is the fact that in 1961, Albee was instrumental in foundiag 

the Playwrights Unit, a project designed to subsidize and produce the works of young, unknown 

playwrights, to give them the opportunity that the New York theatrical establishment had 

attempted to deny to him.