The women of Three Tall Women, identified for the sake of universality only as A, B and C, are different women in Act I.  In Act II, they become three seperate manifestations of the same woman: an acerbic, cantankerous and sometimes mischievous 92-year-old at different stages in her long life.  

In Act I we meet A, an emotional, semi-lucid, imperious and stubborn old woman.  A's memories are strong, but a little confused, and her body consistently disappoints her.  Attending her physical needs and her continual mood swings is B, her personal caretaker.  B is sympathetic but largely exhausted by the old woman.  Adding to the confusion and mayhem is C,  a patronizing and sarcastic young woman in her 20s who cares for the old woman’s legal affairs and little else. 

In Act II reality gives way to fantasy as the old woman’s consciousness splits into three independent selves: she appears as the naive and optimistic girl she was in her carefree 20s, as the worldly but resigned 50-year-old she became and as a revitalized and empowered version of her 92-year-old self — sharp, intelligent and in control of body and mind. 

What ensues is a kaleidoscopic view of one woman’s incredible journey, a beautiful and fragmented look at every aspect of her life — from her days as a young woman full of promise, through her troubled marriage, to a rocky relationship with her son.  

 From courting and marriage to infidelity and self-deception, Albee’s Three Tall Women covers the gamut of human experience.  Three Tall Women is the sort of thought provoking drama that stays with the viewer long after the play has ended. 
 
In addition to earning Albee his third Pulitzer Prize, Three Tall Women has also been awarded the New York Drama Critics Circle Award, the Outer Critics Circle Award and the Lucille Lortel Award, making it the most honored play of the 1993-94 season.