The premise revolves around the world’s richest woman, the mysterious and reclusive Miss Alice ( Carrie Paff), who wishes to give away billions of dollars to the Catholic Church and every other religion as well. As his newest work, “Tiny Alice” quickly became potent fodder for philosophical and theological discussion, but it was controversial and largely misunderstood despite six Tony nominations and the Award for Best Actress going to Irene Worth. Albee was still being lauded for “Who’s Afraid of Virginia Woolf?” which in 1963 had captured five Tony Awards, including one for Best Play. When it opened in December 1964, Albee’s eerie tale of God and Mammon with a supernatural twist was, to say the least, unexpected from the newest rising star of the Broadway scene. The foundation of “Tiny Alice” lies in diabolical horror, pure and simple. But these concepts, provocative as they are in their own right, merely drive the story. In its newest production at Marin Theatre Company, “Tiny Alice” shines the spotlight on lofty distinctions: between heavenly faith, and that which passes for faith in the world of men between the true God, and the god that man has created in his own image. The spellbinding “Tiny Alice” by Edward Albee, which has inspired both outrage and admiration for almost 47 years, is one of the most original stories of this genre.

Photo by Kevin Berne: Andrew Hurteau, Carrie PaffĬlassic stories about deals with the Devil have always intrigued us, from “Faust” to “Damn Yankees” to “Rosemary’s Baby” and beyond.

Tiny Alice by Edward Albee