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Ah, Wilderness ! and Days Without End. Two Plays by Eugene O'Neill.
Scenes: ACT ONE Sitting-room of the Miller home in a large
small-town in Connecticut early morning, July 4th, 1906. ACT TWO
Dining-room of the Miller home evening of the same day. ACT THREE
Scene One: Back room of a bar in a small hotel 10 o'clock the same
night. Scene Two: Same as Act One the sitting-room of the Miller
home a little after 11 o'clock the same night. ACT FOUR Scene One:
The Miller sitting-room again about 1 o'clock the following
afternoon. Scene Two: A strip of beach along the harbour about 9
o'clock that night, Scene Three: Same as Scene One the sitting-room
about 10 o'clock the same night CHARACTERS NAT MILLER, owner of
the" Evening Globe" ESSIE, his wife MILDRED TOMMY SID DAVIS,
Essie's brother LILY MILLER, Nat's sister DAVID McCoMBER MURIEL
McCoMBER, daughter WINT SELBY, classmate of Arthurs at Yale BELLE
NORAH BARTENDER SALESMAN ACT ONE SCENE. Sitting-room of the Miller
home in a large small town in Connecticut about 7.30 in the morning
of July 4th, 1906. The room is fairly large, homely looking and
cheerful in the morning sunlight, furnished with scrupulous
medium-priced tastelessness of the period. Beneath the two windows
at left, front, a sofa with silk and satin cushions stands against
the walL At rear of sofa, a bookcase with glass doors, fitted with
cheap sets, extends along the remaining length of wall In the rear
wall, left, is a double doorway with sliding doors andportieres,
leading into a dark, windowless, lack parlour. At right of this
doorway, another bookcase, this time a small, open one, crammed
with boys and girls books and the best-setting novels of many past
years books thefamily really have read. To the right of this book-
case is the mate of the double doorway at its left, with sliding
doors and portieres, this one leading to a well- lighted front
parlour. In the right wall, rear, a screen door opens on a porch.
Farther forward in this watt are two windows, with a writing-desk
and a chair between them. At centre is a big, round table with a
green-shaded reading-lamp, the cord of the lamp running up to one
of five sockets in the chandelier above. Five chairs are grouped
about the table three rockers at lefty right, and right rear of it,
two armchairs at rear and left rear, A medium-priced, inoffensive
rug covers........
Eugene O'Neill's Mourning Becomes Electra is a trilogy of
full-length plays, reworking themes from Greek tragedy,
particularly The Oresteia of Aeschylus, relocated to New England in
1865, just after the end of the American Civil War. Lavinia Mannon
(Electra) dotes on her father Ezra (Agamemnon), who has just
returned victorious from the war, and despises her mother Christine
(Clytemnestra) - especially since Catherine has been making a
cuckold of Ezra with Lavinia's ex-suitor, Adam. Lavinia's brother
Orin (Orestes), on the other hand, war-wounded and weak, idolises
his mother and resents his overbearing father. When Christine and
her lover poison Ezra, Lavinia convinces her brother that they must
avenge their father's death. But they have spent years soaking in
family conflicts and curses of generations past, and fate will be
sated... Mourning Becomes Electra was premiered on Broadway at the
Guild Theatre in October 1931. This edition of the play includes a
full introduction, biographical sketch and chronology.
Eugene Gladstone O'Neill (1888-1953) was an American playwright and
Nobel laureate in Literature. His poetically titled plays were
among the first to introduce into American drama techniques of
realism earlier associated with Russian Anton Chekhov, Norwegian
Henrik Ibsen, and Swedish August Strindberg. This volume contains
three early 20th century plays, Beyond the Horizon, The Straw, and
the ten-page, one-act Before Breakfast.
An affectionate and witty comedy of recollection from one of the
twentieth century's most significant writers. Eugene O'Neill's only
well-known comedy, Ah! Wilderness is a family-based saga set in the
years just before the First World War. Richard Miller is deeply
enamoured with his 'best girl', the pretty and pure Muriel. But
when her cantankerous father finds out about their plans to spend
Independence Day together, he demands that she write to him
breaking off the whole thing. Richard is distraught, heartbroken,
and seems about ready to knuckle under to strong liquor and fast
women... Can his father Nat reach across the generation gap and
bring his son back to the family - and Muriel? Eugene O'Neill's
play Ah! Wilderness was premiered on Broadway at the Guild Theatre
in October 1933. It was first staged in the UK at Westminster
Theatre, London, in 1936. This edition includes a full
introduction, biographical sketch and chronology.
Eugene O'Neill has long been celebrated as America's greatest
playwright. This year, in the centennial of his birth, Yale
University Press takes pride in bringing out an edition of
O'Neill's little-known works of the imagination and his principal
critical statements, most of which have not hitherto been
published. Edited and introduced by eminent O'Neill scholar Travis
Bogard, the pieces-mostly early works-shed valuable light on
O'Neill's artistic development. Contained here are a four-act
tragedy, "The Personal Equation"; the original version of Marco
Millions; a dramatic adaptation of Coleridge's "The Rime of the
Ancient Mariner"; a scenario "The Reckoning," and Bolton O'Neill;
the fourth act of "The Ole Davil," which became, with some
alteration of tone, "Anna Christie"; and two short stories,
"Tomorrow" and "S.O.S." Also included are an unpublished love poem
and several critical and occasional pieces, composition of Mourning
Becomes Electra and "The Last Will and Testament of Silverdene
Emblem O'Neill," written on behalf of his Dalmatian, Blemie. "There
is here no undiscovered masterwork," says Bogard in his foreword,
"but much here foreshadows what was to come as 'Tomorrow,' written
in 1917, explores the ground on which The Iceman Cometh was to be
created. In some of the writing, O'Neill is struggling to learn his
craft: the scenario of 'The Reckoning,' for example, shows him in
the process of forming a lifelong habit of detailing a play in a
long narrative account. In the poem to Jane Caldwell and the
memorial for Blemie, glimpses of a gentle, private man can be
caught. In the critical pieces, O'Neill attempts an
uncharacteristic but interesting articulation of his theatrical
principles. In all the fugitive works gathered here, the O'Neill
voice sounds clear.... It remains worth hearing." "An important
work about an unknown O'Neill that will reveal this fascinating
personality to the general public." -Paul Shyre Travis Bogard,
emeritus professor of dramatic art at the University of California,
Berkeley, has edited many works and papers of O'Neill, including,
with Jackson R. Bryer, "The Theatre We Worked For": The Letters of
Eugene O'Neill to Kenneth Macgowan.
A true modern classic from one of the twentieth century's most
significant writers, Long Day's Journey into Night is an intensely
autobiographical, magnificently tragic portrait of the author's own
family - a play so acutely personal that he insisted it was not
published until after his death. One single day in the Tyrones'
Connecticut home. James Tyrone Snr is a miser, a talented actor who
even squanders his talent in an undemanding role; eldest son Jamie
is an affable, whoremongering alcoholic and confirmed ne'er-do
well; youngest son Edmund is poetic, sensitive, suffering from a
respiratory condition and deep-seated disillusionment; and their
mother Mary, living in a haze of self-delusion and morphine
addiction. Existing together under this roof, and the profound
weight of the past, they subtly tear one another apart, shred by
shred. 'Set in 1912, the year of O'Neill's own attempted suicide,
it is an attempt to understand himself and those to whom he was
irrevocably tied by fate and by love. It is the finest and most
powerful play to have come out of America' Christopher Bigsby
Eugene O'Neill's play Long Day's Journey into Night was written in
1939-41, and first published in 1956 (after O'Neill's death in
1953). It was first performed at the Royal Dramatic Theatre,
Stockholm, in February 1956, and had its first American production
at Helen Hayes Theater, New York, in November that year. It won the
Tony Award for Best Play, and O'Neill was posthumously awarded the
1957 Pulitzer Prize for Drama. This edition includes a full
introduction, biographical sketch and chronology.
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Selected Letters (Hardcover)
Eugene O'Neill; Volume editing by Travis Bogard, Jackson R. Bryer; Travis Bogard, Jackson R. Bryer
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Discovery Miles 25 610
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Provides a representative selection of O'Neill's voluminous
correspondence written over a fifty-year period to intimate friends
and family and to literary and theatrical personalities.
An ominous play set in a cruel world of dark realism, an
acknowledged masterpiece from one of the twentieth century's most
significant writers. Harry Hope's Saloon is a waterfront bar full
of life's failures. They exist barely, living on the knowledge that
love is a chimera and despair is perpetual; that the desires they
cultivate of an impossible future are only ever pipe dreams,
because the only thing to look forward to is death. And then one
day Hickey walks in with his own personal brand of hope, and his
urge to make them face the truth. Written in 1939, Eugene O'Neill's
play The Iceman Cometh was first staged at the Martin Beck Theater,
New York, in October 1946. It had its UK premiere at the Arts
Theatre, London, in January 1958. 'A dramatised neurosis, with no
holds barred, written in a vein of unsparing implacable honesty'
Kenneth Tynan 'O'Neill, the great patriach of Broadway and the
playwright who laid out the map on which all contemporary American
drama is still written - Iceman is the first truly great epic of
the modern American theatre, and its legacy is the intimate
stripping of the soul which we now take for granted in drama
worldwide' Sheridan Morley This edition of The Iceman Cometh
includes a full introduction, biographical sketch and chronology.
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The Iceman Cometh (Paperback)
Eugene O'Neill; Foreword by Harold Bloom
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Eugene O'Neill was the first American playwright to win the Nobel
Prize in Literature. He completed "The Iceman Cometh" in 1939, but
he delayed production until after the war, when it enjoyed a long
run of performances in 1946 after receiving mixed reviews. Three
years after O'Neill's death, Jason Robards starred in a Broadway
revival that brought new critical attention to O'Neill's darkest
and most nihilistic play. In the half century since, "The Iceman
Cometh" has gained enormously in stature, and many critics now
recognize it as one of the greatest plays in American drama. "The
Iceman Cometh" focuses on a group of alcoholics and misfits who
endlessly discuss but never act on their dreams, and Hickey, the
traveling salesman determined to strip them of their pipe dreams.
Long Day's Journey into Night was written in 1940 but not staged
until 1956, after O'Neill's death. Unashamedly autobiographical, it
is, as he puts it himself in the dedicatory note, 'a play of old
sorrow, written in tears and blood', a harrowing attempt to
understand himself and his family.
Eugene O'Neill's autobiographical play Long Day's Journey into
Night is regarded as his finest work. First published by Yale
University Press in 1956, it won the Pulitzer Prize in 1957 and has
since sold more than one million copies. This edition, which
includes a new foreword by Harold Bloom, coincides with a new
production of the play starring Brian Dennehy, which opens in
Chicago in January 2002 and in New York in April. "By common
consent, Long Day's Journey into Night is Eugene O'Neill's
masterpiece. . . . The helplessness of family love to sustain, let
alone heal, the wounds of marriage, of parenthood, and of sonship,
have never been so remorselessly and so pathetically portrayed, and
with a force of gesture too painful ever to be forgotten by any of
us."-Harold Bloom, from the foreword "Only an artist of O'Neill's
extraordinary skill and perception can draw the curtain on the
secrets of his own family to make you peer into your own. Long
Day's Journey into Night is the most remarkable achievement of one
of the world's greatest dramatists."-Jose Quintero "The play is an
invaluable key to its author's creative evolution. It serves as the
Rosetta Stone of O'Neill's life and art."-Barbara Gelb "The
definitive edition of a `play of old sorrow, written in tears and
blood,' as O'Neill described it in dedicating it to his wife,
Carlotta."-Boston Globe
Two powerful expressionist plays from the early career of one of
the twentieth century's most significant writers. The Hairy Ape is
a nightmarish condemnation of the dehumanising effects of
industrialisation on the American people. Robert 'Yank' Smith, an
animalistic stoker, breaks free from his engine-room confines when
he is spurned by the glamorous society woman, Mildred Douglas.
Looking to find his free self out in the 'real' world, Yank goes on
the rampage - but how much will his freedom cost him? And is there
really any such thing? First staged at the Playwrights' Theater,
New York, in March 1922. All God's Chillun Got Wings is a vigorous
social commentary based around a violently dysfunctional mixed-race
marriage. Ella is the neurotically jealous white wife of Jim, a
driven, charismatic black man. She sabotages his career,
effectively destroying him, before her frenzy lapses into
remorseless dependency. First performed in 1924 at the Provincetown
Playhouse, New York, in a production starring Paul Robeson. This
edition includes a full introduction, biographical sketch and
chronology.
Two compelling and thought-provoking plays from one of the
twentieth century's most significant writers. Anna Christie Eugene
O'Neill's epic Pulitzer Prize-winning play about love and
forgiveness charts one woman's longing to forget the dark secrets
of her past and hope for salvation. Exiled from her home by the Old
Devil Sea to the inland plains, Anna Christie's life changed for
ever at just five years of age. Fifteen years later, she is
reunited with the father who sent her away, and sets sail in search
of a new beginning. Anna Christie was first staged at the
Vanderbilt Theater, New York, in November 1921. Its first London
production was at the Strand Theatre in April 1923. The Emperor
Jones An expressionistic chronicle of a black dictator's flight
from his oppressed subjects. Brutus Jones rules his island's
citizens from his opulent palace with tyrannical ease - until the
day that they all disappear. They have retreated to the hills,
following their former native leader Lem, and plan to revolt. It is
time for the Emperor to make good his escape. The Emperor Jones was
first performed at the Playwrights' Theater, New York, in November
1920. Its UK premiere was at the Ambassadors' Theatre, London, in
September 1925. This edition includes a full introduction,
biographical sketch and chronology.
Revived in 1998 to acclaim at New York's Lincoln Center, Ah,
Wilderness! is a sharp departure from the gritty reality of the
author's renowned dramas. Taking place over the July 4th weekend of
1906 in an idyllic Connecticut town, it offers a tender,
retrospective portrait of small town family values, teenage growing
pains, and young love.
This tribute honors Robards in two parts. Part One presents recent
interviews of the late actor as well as articles by Arthur and
Barbara Gelb which appeared in the New York Times on the occasions
of the American premier of Long Days Journey into Night (1956) and
of the successful production of A Moon for the Misbegotten, with
Colleen Dewhurst (1974). Part Two contains more personal
recollections of Jason Robards. Several of Robards theatrical
colleagues (Arvin Brown, Zoe Caldwell, Douglas Campbell, Blythe
Danner, George Grizzard, the playwright A.R. Gurney, Shirley
Knight, Paul Libin, Theodore Mann, Christopher Plummer, Kevin
Spacey and Eli Wallach) recall their times with the actor.
Eugene O'Neill's epic Pulitzer Prize-winning play about love and
forgiveness charts one woman's longing to forget the dark secrets
of her past and hope for salvation. Exiled from her home by the Old
Devil Sea to the inland plains, Anna Christie's life changed for
ever at just five years of age. Fifteen years later, she is
reunited with the father who sent her away, and sets sail in search
of a new beginning. Anna Christie was first staged at the
Vanderbilt Theater, New York, in November 1921. Its first London
production was at the Strand Theatre in April 1923. This edition of
Anna Christie was published alongside the 2011 revival at the
Donmar Warehouse, London.
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