Who's Afraid of Edward Albee?, an article by Laura Parker, calls Edward Albee an old fogey. Leonard Jacobs and George Hunka discuss the matter here and here, respectively.
Then, as George points out, there's this. Which I sort of wanted to hug.
So what is there to say? It's not news that Albee personally feels this way, and as, is stated all over the place, there's a sort of personal preference at play here that simply can't be argued with or about.
Still, I think it's noteworthy to point out that plays are more and more often written with the assumption of a director. The director as a second, independent, creative force is now a part of DNA of many new plays. Playwrights should understand why we're making certain choices as we write, or we'll find that we're unconsciously styling plays to fit the needs of others. Instead of writing down a fully formed vision, we'll reduce our impact on our own productions by leaving room for our collaborators before they've even shown up.
- Matthew Freeman is a Brooklyn based playwright with a BFA from Emerson College. His plays include THE DEATH OF KING ARTHUR, REASONS FOR MOVING, THE GREAT ESCAPE, THE AMERICANS, THE WHITE SWALLOW, AN INTERVIEW WITH THE AUTHOR, THE MOST WONDERFUL LOVE, WHEN IS A CLOCK, GLEE CLUB, THAT OLD SOFT SHOE and BRANDYWINE DISTILLERY FIRE. He served as Assistant Producer and Senior Writer for the live webcast from Times Square on New Year's Eve 2010-2012. As a freelance writer, he has contributed to Gamespy, Premiere, Complex Magazine, Maxim Online, and MTV Magazine. His plays have been published by Playscripts, Inc., New York Theatre Experience, and Samuel French.