Edward Albee's "The Lady from Dubuque"

I recently saw another play written by Edward Albee which further confirmed my suspicions that he is a womb twin survivor. This play, "The Lady from Dubuque" written in 1977-78, is about impending death symbolized by the The Lady - it included dialogue that touched on womb twin themes, noted below in parentheses, following dialogue from the play: "My wife is dying and I've been abandoned by my friends" (abandonment) "Having it both ways" (twin duality) "I'm of two minds" (alpha + beta) "He isn't happy with the way things are, he wants it back the way it never was" (replaying the womb twin experience) "I don't know who I am" "Then how could you possibly know who I am?" (twin identity issues) "We hang on to those we're losing there will be time for ourselves later" (separation anxiety + self sabotage) "Masters died and their servants were buried with them" (separation anxiety + alpha/beta) "We all have antecedents and we all can be replaced" (twin replacements) On death: "There is no time to be afraid, everything is done before you know it" (twin loss defenses/denial) Wife: "Just let me die" Husband: "I don't exist" I found this last bit very curious because it makes sense to a womb twin survivor, but I wondered what kind of sense this made to a non womb twin survivor (aka womb twin survivor in denial). Was this a transference of emotions the way singletons do it? I needed an explanation and was fortunate to have the opportunity to ask Mr. Albee directly since he was there for Q&A after the performance that night. His answer was that the husband felt he no longer existed because he was left out of the choice of his wife staying or going, emotionally abandoned. I still believe it is the writers unconscious expression of twin transference, meaning one half of the twin pair feels what the other half feels, so if one was dying the other instantly felt they too no longer existed. Mr. Albee's last staged play, "Me, Myself and I" was about identical twins, one named OTTO and the other named Otto, the alpha of the pair decided the other twin didn't exist (even though the beta twin character remained onstage). After that play, I raised my hand asking and also answering questions about vanishing twin phenomena to an audience of approximately one hundred people and was deferred to as "the twin therapist" by Mr. Albee. I was thrilled to raise awareness of this issue in the context of cultural theatre, especially by my very favorite playwright. Afterward, I was fortunate to speak with one of the actors who described the process of becoming identical twins with the other twin character - he had to change his hair to match, wear lifts in his shoes to match height and they had to practice the same voice & mannerisms. It was fascinating to hear about this process, which seems the reverse of what womb twins must do - undo the twin match and go forth as a singleton in the world!