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Abstract: “The Last Will and Testament of Silverdene Emblem O’Neill,” performed by Alex Roe, is among the recent offerings from the Metropolitan (Virtual) Playhouse to feature lesser-known works by Eugene O’Neill and the Provincetown Players. This solo performance of a short prose piece embodies the imagined final thoughts and wishes of O’Neill’s beloved dog, affectionately called “Blemie,” who passed of old age in 1940.Although O’Neill endows Blemie with the considerate and loving impulses of a canine family member, he crafts a character whose voice and preoccupations are unmistakably O’Neill’s. Early in the performance, Blemie notes that he is burying his missive in his master’s brain, although “he will not know it is ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: Neith Boyce and Hutchins Hapgood’s Enemies premiered at the Lewis Wharf Theatre in Provincetown, Massachusetts, in 1916, during the summer that would see the official founding of the Provincetown Players. This collaboration was relished by its original audience, as the couple explored very conspicuously the gender dynamics of their marriage and the marriages of many of their friends. In the course of the play, She (played by Kersti Bryan in the Metropolitan Playhouse’s virtual production) and He (Nate Washburn) engage in a lively debate that evidences the intricacies of marriage in the age of the “New Woman” and “Free Love,” and offers new perspectives on sexual behavior, longstanding notions of love and fidelity ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: As the pandemic rages on and continues to keep people tied to their homes and computers, the idea of worrying about trifles seems more relevant than ever. Susan Glaspell’s most famous play is one I often teach, and my students always marvel at how much action and information is packed into an eight-page play. Recently, I taught Trifles in a class called “Murderinos: Gender, Performance, and True Crime,” as the play’s connection to Glaspell’s own crime reporting is an important part of the original story. Glaspell covered the murder of John Hossack from 1900 to 1901, and, although she believed that Hossack’s wife killed him, she bemoaned the fact that the constraints of conventional journalism did not allow her to ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: In response to the pandemic restrictions beginning in March 2020, the Metropolitan Virtual Playhouse has offered over fifty readings streaming on Zoom and YouTube, cultivated a community of artists and audiences, and allowed the plays—by Eugene O’Neill and his collaborators and associates— to speak to each other in intertextual ways. Such a profusion has provided audiences the opportunity to see works that are not frequently performed in proximity with each other and to grasp the full scope—as well as the recurring themes—of the work of the Provincetown Players and their contemporaries. The productions of Not Smart, The Silent Waiter, and Winter’s Night demonstrate the range of stylistic approaches explored by the ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: Unable to welcome an audience into an auditorium where live theater should be experienced, many theaters have remained dark during this isolating year while others, like the Metropolitan Playhouse, have continued to offer programming to hungry audiences. On May 22, 2021, from the quiet of my home, I, one of the starved, viewed the Metropolitan Virtual Playhouse’s important and ambitious production of Susan Glaspell’s Trifles. The production of this 105-year-old play used Zoom, a technology that confines its participants to virtual boxes but also provides a means for actors, no matter where they are residing, to interact with one another. The production, followed by a talk from esteemed Glaspell scholar and ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: This issue first declared itself as other recent issues have done: as a neural blip of anxiety about access to collections for the Lost & Found feature, publication of overdue books for the reviews, and receipt of high-quality essays from scholars and theater-makers muddling through uncooperative professional environments. And how to manage the Practitioners’ Colloquium when so few people are . . . practicing'That sort of blip grows. This blip grew. To a beep, a bark, and a bellow. And beyond.Then, silence. Why' Let’s start with Lost & Found. The partial shutdown of Princeton’s libraries had prevented final work on “The Silver Bullet,” O’Neill’s early sketch of The Emperor Jones. Fortunately, a Google search for ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: It is freely conceded nowadays that O’Neill’s Days Without End was a major flop on Broadway, has never been revived there, and is at present languishing outside the O’Neill canon. The purpose of this article is not to change all that but to show that a little-known production in the Abbey Theatre, Dublin, in April 1934 was so carefully and respectfully done and so warmly received, that a little more room in theater history must be allowed for this abandoned “Modern Miracle Play,” O’Neill’s subtitle, which he stood by, though waver-ingly when it came to publication.1I begin with the man who made the Abbey production possible, Dr. Patrick McCartan (1878–1963), an Irish American political activist who, having met W. ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: Eugene O’Neill is often introduced in theater history courses as the “father of American drama,” a figure who transformed American plays from capitalist ventures of vaudeville entertainment and melodramatic spectacle into amore elevated genre. His critical recognition includes unparalleled honors among American dramatists: he is the only playwright to have won four Pulitzer Prizes for drama and the only American playwright to win the Nobel Prize for Literature. As David Savran has argued, O’Neill has been “canonized” both as the seminal playwright in the development of American drama and metaphorically as a “saint” of American theater, providing literary and critical salvation to a genre that had previously been ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: At the heart of three canonical mid-twentieth century American plays— Eugene O’Neill’s Long Day’s Journey Into Night, Tennessee Williams’s The Glass Menagerie, and Arthur Miller’s Death of a Salesman—are adult sons who have returned to their childhood homes following personal or professional failures. O’Neill’s autobiographical Edmund Tyrone retreats to the familial summer home following inconclusive ramblings abroad, his declining health precipitated by an undiagnosed case of tuberculosis. His brother Jamie flounders in his acting career and seeks escape through alcohol abuse. Though the O’Neill family did not own property until the summer of 1900, Monte Cristo Cottage in New London, Connecticut, was in Robert M. ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: The 2019 production of Eugene O’Neill’s Long Day’s Journey Into Night, directed by Brendon Fox at American Stage in St. Petersburg, Florida, has been explicated and justifiably praised in the Eugene O’Neill Review . Fox gave readers an account of his directing process in a Practitioner’s Colloquium from EOR 41.2 (2020), where he discussed, for example, the three key themes that had guided his interpretation: “the pain and cost of truth-telling, the power of the smallest personal choices of each family member, and the surprisingly deep amount of love and investment the Tyrones have for each other.” Fox’s approach registered well with Jo Morello. In EOR 42.2 (2021), Morello described the production as a “lively ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: In 1972, when Contour in Time was first published, a number of things about it were hailed as new and perhaps groundbreaking for the study of Eugene O’Neill. Noting that the book was only secondarily a work of criticism, Frederic Carpenter emphasized the primary purpose that Bogard articulated: to write “‘a form of biography’ which will discuss O’Neill’s ‘life in art.’” Suggesting that “obviously this fusion of biography with criticism is difficult,” he nevertheless thought that “when successful it produces something more than the sum of its parts.” Mardi Valgemäe agreed that as “‘a form of biography’ . . . the study succeeds admirably,” and John Henry Raleigh wrote that “‘Contour in Time’ is the fullest and finest ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: Relatively early in Magnum Opus, his new study of Eugene O’Neill’s Cycle plays, Zander Brietzke recalls a rare press conference from 1946 at which O’Neill, usually taciturn and uncomfortable in large public events, expounded on the idea that had been driving his work. He was proceeding, O’Neill claimed, “on the theory that the United States, instead of being the most successful country in the world, is the greatest failure.” It was “the greatest failure,” he explained, because in spite of having been “given everything, more than any other country . . . it hasn’t acquired any real roots.” “We had so much,” O’Neill contended, “and could have gone either way” (43; see Conversations with Eugene O’Neill, ed. Estrin ... Read More PubDate: 2022-02-25T00:00:00-05:00
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Abstract: Circle in the Square Theatre: A Comprehensive History culminates four decades of research and distills material covered in Sheila Hickey Garvey’s 600-plus-page 1984 dissertation, “Not for Profit: The History of the Circle in the Square Theatre.” Smooth transitioning from the clinical style of a lengthy dissertation to an engaging monograph is always a bit tricky and is perhaps more so in a study of a company—or at least a producing entity—that has remained operational, with few and brief interruptions, for some seventy years. Garvey expanded her original study to include vital material from 1984 to 2020. Selectivity and organization were key to this adaptation, and, while some may miss lengthy discussion of ... Read More PubDate: 2022-02-25T00:00:00-05:00
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