{"title":"Finding Eugene O’Neill in Maxim Gorki’s The Lower Depths","authors":"W. King","doi":"10.5325/eugeoneirevi.44.1.0031","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.0031","url":null,"abstract":"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.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"44 1","pages":"31 - 60"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43677776","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}
{"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}
{"title":"Blackness and Belonging: Shirley Graham’s “Negro Adaptation” of The Hairy Ape","authors":"Patrick Chura","doi":"10.5325/eugeoneirevi.44.1.0008","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.0008","url":null,"abstract":"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.","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"44 1","pages":"30 - 8"},"PeriodicalIF":0.3,"publicationDate":"2023-02-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46885775","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}
{"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}
{"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}
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}
{"title":"Long Day’s Journey Into Night","authors":"Catherine M. Young","doi":"10.5325/eugeoneirevi.44.1.0113","DOIUrl":"https://doi.org/10.5325/eugeoneirevi.44.1.0113","url":null,"abstract":"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","PeriodicalId":40218,"journal":{"name":"Eugene O Neill Review","volume":"23 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":"136362576","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}
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