Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.0031
W. King
ABSTRACT:In his early days as an author, Eugene O’Neill modeled himself on Maxim Gorki, even mimicking the Russian playwright when posing for an early portrait. Gorki’s 1902 play, Na dnie, had an immediate impact on European and American writers by demonstrating radical new ways a drama could speak to the modern world. O’Neill probably first encountered the play in its 1912 translation as The Lower Depths. In its many translations and productions Gorki’s play established for early twentieth-century theater artists a standard of integrity, though the play was also frequently misinterpreted. Near the end of his career, O’Neill utilized many elements of The Lower Depths in The Iceman Cometh, for reasons that have been debated. But Gorki’s play informs an interpretation of many other O’Neill plays, and the example of Gorki as a figure of modern artist resonated in the way O’Neill self-consciously fashioned himself as a modern artist.
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{"title":"Long Day’s Journey Into Night","authors":"Catherine M. Young","doi":"10.2307/3205911","DOIUrl":"https://doi.org/10.2307/3205911","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"22 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78728232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.0008
Patrick Chura
ABSTRACT:While working for the Federal Theatre Project in Chicago in 1937, leftist playwright Shirley Graham created a “Negro adaptation” of The Hairy Ape that altered O’Neill’s script and inserted an entirely new scene. The play was never produced because O’Neill denied Graham’s request to perform it and disparaged the work as an example of “freak theatre where white plays are faked into black plays.” This article looks closely at Graham’s adaptation in order to consider its significance, arguing that the race-determined changes Graham made to O’Neill’s script do not distort the play but elicit a layered African American presence. As a tool for understanding this presence, this article adopts a critical approach practiced in lectures delivered in 1990 by Toni Morrison, which restore legitimacy to Graham’s play and offer a model for fresh interpretation of O’Neill’s oeuvre.
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Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.v
Alexander Pettit
The iconoclastic tendency in literary studies demands much of academic journals, particularly single-author journals devoted to the white, male heterosexuals. But the challenges at issue are mostly obvious and not all that hard to meet, at least with respect to Eugene O’Neill in the third decade of the present century. We have in O’Neill both a playwright of undeniable genius and a person whose life-long crawl between earth and heaven scratched and muddied him. His wounds (e.g., illness and trauma) are pitiable; his defilements (e.g., flickering anti-Semitism and racism, spousal abuse) are not. And we find in our own “moment”—so brutal, so stupid in so many ways—a diversified intellectual population impatient with hagiography and quick to call out moral vulgarity but not necessarily insensitive to genius.Happily, the Eugene O’Neill Review has never gone in for hagiography and the various “vulgarities” it entails: O’Neill is an inapt candidate for sainthood, and the journal has never been edited by a simpleton. Furthermore, O’Neill turns out to be a hard fella to cancel, as though the inapplicability of “icon” balked “clastic.” Readers of Patrick Chura’s essay on Shirley Graham’s Federal Theatre Project’s “Negro adaptation” of The Hairy Ape will likely appreciate Graham’s fascination with the transracial resonances of that play, even as they regret O’Neill’s ugly dismissal of the FTP’s proposed production. Chura criticizes O’Neill sharply and well, but he recognizes the disservice a pummeling would do to Graham’s engagement with O’Neill’s art. Her adaptation, he concludes, “does not detract from, and may well enhance, appreciation of O’Neill’s accomplishments.”One might say the same of Adrienne Earle Pender’s Emperor Jones reconfiguration, N, a fuller adaptation than Graham’s but a similarly provocative “Blackening” of O’Neill’s work. Would O’Neill have thought as poorly of N as he did of Graham’s Hairy Ape? I suspect not, because Graham wanted to reproduce great chunks of O’Neill’s script, and Pender did not. But we don’t need to care. O’Neill is gone. We’re here, richer for the efforts of Graham and Pender and—selectively to contextualize—racially imaginative adaptors of classical drama like Luis Alfaro, Marina Carr, Yaël Farber, and Charles Mee.We do know what Ronald E. Quirk thinks of N, or at least of a recent production: a big “thumbs up.” His review leads off a fine quintet, filled out by commentary on productions of Susan Glaspell’s Bernice (Ash Marinaccio), Neith Boyce’s The Sea Lady (Christen Mandracchia), and O’Neill’s A Touch of the Poet (James Armstrong) and Long Day’s Journey Into Night (Catherine Young).And we know what Pender thinks of Mourning Becomes Electra. Her contribution to the Practitioners’ Colloquium reimagines that juggernaut as a telenovela. Skeptical? Hear her out: it’s a fascinating, viable idea, like the other proposals in this generally celebratory grouping. Odawa playwright Alanis King also tackles Mourning Becomes
{"title":"Editor’s Foreword","authors":"Alexander Pettit","doi":"10.5325/eugeoneirevi.44.1.v","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.v","url":null,"abstract":"The iconoclastic tendency in literary studies demands much of academic journals, particularly single-author journals devoted to the white, male heterosexuals. But the challenges at issue are mostly obvious and not all that hard to meet, at least with respect to Eugene O’Neill in the third decade of the present century. We have in O’Neill both a playwright of undeniable genius and a person whose life-long crawl between earth and heaven scratched and muddied him. His wounds (e.g., illness and trauma) are pitiable; his defilements (e.g., flickering anti-Semitism and racism, spousal abuse) are not. And we find in our own “moment”—so brutal, so stupid in so many ways—a diversified intellectual population impatient with hagiography and quick to call out moral vulgarity but not necessarily insensitive to genius.Happily, the Eugene O’Neill Review has never gone in for hagiography and the various “vulgarities” it entails: O’Neill is an inapt candidate for sainthood, and the journal has never been edited by a simpleton. Furthermore, O’Neill turns out to be a hard fella to cancel, as though the inapplicability of “icon” balked “clastic.” Readers of Patrick Chura’s essay on Shirley Graham’s Federal Theatre Project’s “Negro adaptation” of The Hairy Ape will likely appreciate Graham’s fascination with the transracial resonances of that play, even as they regret O’Neill’s ugly dismissal of the FTP’s proposed production. Chura criticizes O’Neill sharply and well, but he recognizes the disservice a pummeling would do to Graham’s engagement with O’Neill’s art. Her adaptation, he concludes, “does not detract from, and may well enhance, appreciation of O’Neill’s accomplishments.”One might say the same of Adrienne Earle Pender’s Emperor Jones reconfiguration, N, a fuller adaptation than Graham’s but a similarly provocative “Blackening” of O’Neill’s work. Would O’Neill have thought as poorly of N as he did of Graham’s Hairy Ape? I suspect not, because Graham wanted to reproduce great chunks of O’Neill’s script, and Pender did not. But we don’t need to care. O’Neill is gone. We’re here, richer for the efforts of Graham and Pender and—selectively to contextualize—racially imaginative adaptors of classical drama like Luis Alfaro, Marina Carr, Yaël Farber, and Charles Mee.We do know what Ronald E. Quirk thinks of N, or at least of a recent production: a big “thumbs up.” His review leads off a fine quintet, filled out by commentary on productions of Susan Glaspell’s Bernice (Ash Marinaccio), Neith Boyce’s The Sea Lady (Christen Mandracchia), and O’Neill’s A Touch of the Poet (James Armstrong) and Long Day’s Journey Into Night (Catherine Young).And we know what Pender thinks of Mourning Becomes Electra. Her contribution to the Practitioners’ Colloquium reimagines that juggernaut as a telenovela. Skeptical? Hear her out: it’s a fascinating, viable idea, like the other proposals in this generally celebratory grouping. Odawa playwright Alanis King also tackles Mourning Becomes","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136362574","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.0092
Steven F. Bloom
{"title":"The American Pipe Dream: Performance of Drug Addiction, 1890–1940 by Max Shulman (review)","authors":"Steven F. Bloom","doi":"10.5325/eugeoneirevi.44.1.0092","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.0092","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"44 1","pages":"92 - 96"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44889403","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.0061
Alan F. King, A. Roe, Adrienne Earle Pender, Annabel Capper
{"title":"Reading O’Neill Creatively: Perspectives and Offerings","authors":"Alan F. King, A. Roe, Adrienne Earle Pender, Annabel Capper","doi":"10.5325/eugeoneirevi.44.1.0061","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.0061","url":null,"abstract":"","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"28 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76581436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-01DOI: 10.5325/eugeoneirevi.44.1.0113
Catherine M. Young
As audience members shuffled past each other in masks and took their seats at the Minetta Lane Theatre in New York City’s West Village during the short, frigid days of early 2022, an on-stage monitor playing CNN placed us in the foment of summer 2020. The monitor glowed with footage of the former president refusing to condemn white teen shooter Kyle Rittenhouse. Before us was the living room of the Tyrones’ summer home, strewn with Amazon boxes and clutter, hand sanitizer prominently set on the coffee table. A yoga mat shared space with furniture. Without sound, these images provided some of the many visual signals that this production of Long Day’s Journey Into Night, famous for its insistence on looking back, would be taking audiences on a shorter temporal journey. Instead of decades, this play of recent sorrow would glance back about a year and a half.If Clint Ramos’s set design weren’t enough to immerse the audience in pandemiccore, his costume design put the characters in the frumpy casual aesthetic of our time. Magnetic stage and screen actor Elizabeth Marvel entered as Mary Tyrone in black leggings and a gray hoodie, straight out of a yogurt commercial. She toted a giant smoothie with a pink straw and settled into some impressive downstage downward dogs that were perhaps the contemporary interpretation of Mary’s “young, graceful figure, a trifle plump, but showing little evidence of middle-aged waist and hips.” At first, O’Neill’s dialogue seemed to layer seamlessly onto the new context. After all, the play opens with James Tyrone (Bill Camp) commenting on his wife’s weight (“You’re a fine armful now, Mary, with those twenty pounds you gained”). A wry chuckle went through the crowd. As this materially comfortable older couple bickered about James Tyrone’s poor real estate investments and suspicion of “Wall Street swindlers,” it was easy and even pleasurable to appreciate the fresh resonances of a play depicting a day in 1912, written in 1941, and first performed in 1956.Director Robert O’Hara received a Tony nomination for directing Jeremy O. Harris’s Slave Play and is also a celebrated playwright. After the Williamstown Theatre Festival’s production of Tennessee Williams’s A Streetcar Named Desire with Audra McDonald as Blanche was canceled due to the pandemic in 2020, O’Hara directed the play as an audio production. Produced and distributed by Audible Inc. (owned by Amazon), that project set the stage for Audible’s producing this staging as part of its transformative Audible Theater endeavor, which funds live productions and then releases companion audio performances. Indeed, a 100-minute audio performance of this production is now available to stream alongside dozens of other works. Hence, this Long Day’s Journey Into Night is the site of significant innovation in US theater production, distribution, and consumption. O’Hara was mentored by the prolific playwright and director George C. Wolfe and recently told American Theatre that “bein
在2022年初短暂而寒冷的日子里，当观众们戴着面具在纽约市西村的米内塔莱恩剧院(Minetta Lane Theatre)里走来走去，坐下时，舞台上播放CNN的显示器把我们带到了2020年夏天的时刻。显示器上闪烁着前总统拒绝谴责白人少年枪手凯尔·里滕豪斯的镜头。摆在我们面前的是蒂龙夫妇避暑别墅的客厅，堆满了亚马逊(Amazon)的箱子和杂物，咖啡桌上显眼地放着洗手液。瑜伽垫和家具共用一个空间。在没有声音的情况下，这些图像提供了许多视觉信号，表明这部以坚持回顾而闻名的《漫漫长夜之旅》将带领观众踏上一段更短的时间之旅。而不是几十年，这出最近的悲伤剧将回顾大约一年半。如果说克林特·拉莫斯(Clint Ramos)的场景设计还不足以让观众沉浸在流行病的核心中，那么他的服装设计则将角色置于我们这个时代的过时休闲美学中。舞台和银幕上极具魅力的演员伊丽莎白·马维尔(Elizabeth Marvel)穿着黑色打底裤和灰色连帽衫出场，扮演玛丽·泰龙(Mary Tyrone)，就像一个酸奶广告中的人物。她端着一杯巨大的奶昔和一根粉红色的吸管，在舞台下做了一些令人印象深刻的下犬式动作，这可能是玛丽“年轻、优雅的身材，有点丰满，但几乎没有中年腰围和臀部的迹象”的当代诠释。起初，奥尼尔的对话似乎无缝地融入了新的背景。毕竟，这出戏的开头是詹姆斯·蒂龙(比尔·坎普饰)评论他妻子的体重(“玛丽，你长了20磅，现在可真够胖的了”)。人群中传来一阵苦笑。当这对物质生活舒适的老夫妇为詹姆斯·蒂龙(James Tyrone)糟糕的房地产投资和对“华尔街骗子”的怀疑而争吵时，欣赏这部描绘1912年一天的戏剧很容易，甚至很愉快，这部戏剧创作于1941年，1956年首次演出。导演罗伯特·奥哈拉因执导杰里米·O·哈里斯的《奴隶剧》而获得托尼奖提名，他也是一位著名的剧作家。2020年，威廉斯敦戏剧节上由奥德拉·麦克唐纳饰演布兰奇的田纳西·威廉姆斯的《欲望号街车》被取消后，奥哈拉执导了这部剧的音频制作。该项目由Audible公司(亚马逊旗下)制作和发行，为Audible公司制作这一舞台舞台奠定了基础，作为Audible剧院转型努力的一部分，该项目为现场演出提供资金，然后发布配套的音频表演。事实上，这部作品的100分钟音频表演现在可以和其他几十部作品一起流媒体播放。因此，这部《漫漫长夜之旅》是美国戏剧制作、发行和消费方面的重大创新。奥哈拉的导师是多产的剧作家和导演乔治·c·沃尔夫(George C. Wolfe)。奥哈拉最近告诉《美国剧院》(American Theatre)，“身为黑人酷儿的一员”意味着他知道，作为剧作家和导演，他永远不可能“让所有人都开心”，因此，他从未把这作为自己的目标。奥哈拉还在该公园2022年夏季季的《莎士比亚》中执导了达纳伊·古里拉饰演的理查德三世。因此，这部《长夜之旅》的制作可以放在奥哈拉越来越多地参与和破坏传统白人经典的背景下，也可以放在沃尔夫2018年的百老汇作品《冰人来了》的背景下，这部作品删减了文本，让丹泽尔·华盛顿饰演希基。然而，与那次引人注目的复兴相比，这显然是一次没有银幕名人的亲密演出。奥哈拉进行了三次重要的干预。他不仅将背景设定为当代风格，还将剧本删减了一半左右，将父母换成了白人演员，儿子换成了黑人演员(图1)。奥哈拉的选择共同创造了一部作品，在这部作品中，变化的意义具体化和消散，不仅基于选角和演员对角色的诠释，还基于观众的参考点。对于不熟悉情节的观众来说，这部《漫长的一天》最初可能看起来像是一部关于一对自私的白人夫妇的戏剧，他们不假思索地收养了两个黑人孩子，现在作为黑人，他们在种族主义社会中努力相互支持。当屏幕播放CNN关于威斯康辛州基诺沙市(Kenosha)警察枪杀雅各布·布莱克(Jacob Blake)的报道时，这似乎是对丽贝卡·卡罗尔(Rebecca Carroll)所说的试图“在白人的注视下生存”的尖锐批评。然而，当玛丽沉浸在她对死去的孩子和艰难的埃德蒙出生的内疚中时，收养的场景消失了(图1)。对于那些知道漫威和坎普在现实生活中结婚的人来说，玛丽和詹姆斯的亲爱和燃烧的场景似乎是令人印象深刻的表演练习，或者是冒险的突破界限。 有时，我们可以看到每个演员都是布莱希特式的“两者皆有”，或者都不是，演员们不是完全的自己，也不是完全的玛丽、詹姆斯、杰米(杰森·鲍文饰)和埃德蒙(阿托·布兰克森-伍德饰)。在将女仆凯瑟琳(或“第二个女孩”)从剧本中剪掉的过程中，演员选角和压缩实验结合在一起。这使得这个家族，尤其是玛丽，显得更加孤立，也意味着观众没有替代品来见证蒂龙家族的解体。加上其他对话的删减，凯瑟琳的缺席削弱了该剧原本的爱尔兰风格，把蒂龙一家变成了一个不幸的美国家庭，被疫情和他们自己的过去所困，没有了老Sod的幽灵。奥哈拉编辑过的剧本让事件看起来不那么闹鬼，但更有压力。奥尼尔的戏剧大约有16个小时，在制作过程中，往往会持续4个小时，形成4:1的时间代表性比例。将脚本缩减到不到两个小时，进一步将时间的表示压缩到8:1的比例。没有中场休息，观众从晴朗的白天到雾蒙蒙的夜晚无情地跟着蒂龙一家。与奥尼尔的舞台指导相关的数字红色时间戳帮助不熟悉该剧的观众跟踪当天的时间，同时帮助我们其他人了解我们何时进入一个新的表演。奥哈拉的时间戏剧使该剧同时评论了蒂龙一家作为一个单独的家庭和美国的总体状况。当詹姆斯要求玛丽“看在上帝的份上，忘记过去吧!”，它保留了一个家庭动荡的个人强度。然而，玛丽的标志性回应是，“过去就是现在，不是吗?”这也是未来。”她不仅对詹姆斯的贫困、杰米危险的嫉妒和婴儿尤金的死亡进行了令人痛苦的描述，而且还预示着美国在种族暴力和公共卫生失败的循环中继续根深蒂固。鉴于美国当前的阿片类药物危机，玛丽的吗啡成瘾很容易与当前的绝望联系起来。玛丽一直处于家人的监视之下，因为他们担心她的吗啡复发并退回到“超然”状态——这个形容词奥尼尔在他的舞台指导中使用了大约30次。观众无法脱离玛丽，因为布景设计让我们比奥尼尔的剧本更接近她。舞台后面的楼梯通往二楼的一扇窗户，窗户穿过舞台左边的墙。它露出了一个贴着墙纸的角落和一张小桌子:玛丽旧病复发时臭名昭著的空房间。垂直空间的使用缓解了客厅的一些停滞，而进入玛丽的私人领域加深了对玛丽上瘾的恶心的窥阴癖。观众们目睹了玛丽割断了她的血管，兴奋起来，然后打瞌睡。观看玛丽剥夺了她的隐私，使观众陷入角色的监视之中。这产生了戏剧性的讽刺，并降低了观众检查自己性情的能力，让我们与杰米(Jamie)的玩世不恭(且准确)的假设——玛丽已经复发——或埃德蒙(Edmund)的自我保护的希望和相互依赖的天真保持一致。投影设计师Yee Eun Nam创造了色彩鲜艳的变形形状，将玛丽的内部变化具体化。有一次，一个投影的骨架走上了楼梯。这些设计选择既具体化又抽象了玛丽的生理变化，这是传统舞台作品的观众只有在长时间缺席后才能通过玛丽的出场来确定的。“这是谁的剧?”午夜时分，他们在朦胧的威士忌迷雾中打牌，詹姆斯问埃德蒙。删减了詹姆斯对埃德蒙的文学品味的大量职业哀叹和怨恨，使这位家长不再是一个愤怒的自恋者，而更像是一个沮丧的酒鬼和有强迫症的小气鬼。坎普的表演沉闷得令人不满意，这让我怀疑自己是否沉迷于把詹姆斯·蒂龙
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