The Lizards Doom 'Seascape'
Edward Albee’s Seascape begins as a minor but searching marriage play to become—in all its high concept glory—a play about an older, married couple’s encounter with a pair of human-sized talking lizards, also married, and in the midst of some crucial life decisions. Is this a good idea? That’s probably not the right question, but it is one that might lead us to another, perhaps more apt one: can Albee make this work?
Well, it all depends on your definition of make this work. But, if you crave in your theater anything approaching sense, art, emotion, intelligence, comedy, tragedy, or a few good jokes, well then, Albee’s lizards end it right there. And it’s not because it’s a bad idea, though it is, but because he doesn’t care. The most hackneyed science fiction writer would have understood scores of implications that Albee doesn’t bother with or only haphazardly addresses.
The most moving aspect of Seascape is that Albee would recover to write The Goat.