The Maine Summer Eugene O'neill
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Biography of Eugene O'neill
Biography of Eugene O’Neill Trevor M. Wise Eugene Gladstone O’Neill was born on October 16, 1888, at the Barrett hotel in New York city, New York, son of James o’Neill, a well-known matinee idol, and Mary Ellen (Ella) Quinlan. Much of O’Neill’s youth was spent in the wings of the theater as he toured the country with his parents and older brother Jamie, watching his father perform his most famous role—the Count of Monte Cristo. When not touring the country with his family, O’Neill attended Catholic boarding school at St. Aloysius Academy at Mount Saint Vincent in the Bronx borough of New York. he then spent four years at Betts Academy, a non-sectarian prep school in Stamford, Connecticut. O’Neill spent the summers with his family at the Monte Cristo Cottage in New London, Connecticut, the only permanent home O’Neill knew as a child. in 1903, at the age of fifteen, o’Neill became aware of his mother’s morphine addiction and was introduced to alcohol by his brother Jamie, setting him on a path of heavy drinking and alcohol abuse. in the fall of 1906, o’Neill enrolled in princeton University, only to be expelled in the following spring for his poor academic per- formance. in october 1909, o’Neill secretly married Kathleen Jenkins, his first of three wives. Shortly after the wedding, o’Neill set sail for honduras to prospect for gold, but found none. While abroad, O’Neill lived the life of a waterfront derelict, working odd jobs and drinking heavily, until he contracted malaria and was forced to return to the United States. -
O'neill and Nietzsche: the Making of a Playwright and Thinker
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1974 O'Neill and Nietzsche: The Making of a Playwright and Thinker Regina Fehrens Poulard Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Poulard, Regina Fehrens, "O'Neill and Nietzsche: The Making of a Playwright and Thinker" (1974). Dissertations. 1385. https://ecommons.luc.edu/luc_diss/1385 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1974 Regina Fehrens Poulard 0 'NEILL AND NIEI'ZSCHE: THE MAKING OF A PI.A'YWRIG HT AJ.'JD THDl'KER by Regina Foulard A Dissertation Submitted to the Faculty of the Graduate School of Loyola University of Chicago in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy June 1974 ACKNOWLEIGMENTS I wish to thank the director of llzy" dissertation, Dr. Stanley Clayes, and llzy" readers, Dr. Rosemary Hartnett and Dr. Thomas Gorman, for their kind encouragement and generous help. ii PREFACE Almost all the biographers mention Nietzsche's and Strindberg's influence on O'Neill. However, surprisingly little has been done on Nietzsche and O'Neill. Besides a few articles which note but do not deal exhaustively with the importance of the German philosopher1 s ideas in the plays of O'Neill, there are two unpublished dissertations which explore Nietzsche's influence on O'Neill. -
Ah, Wilderness! by Eugene O’Neill
By Eugene O’Neill Directed by Douglas C. Wager Spring 2002 Guthrie on Tour Study Guides are made possible by STUDY GUIDE T H E G U T H R I E T H E A T E R J O E D O W L I N G Artistic Director The Guthrie Theater receives support from the National Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. ============================================================================================================ Ah, Wilderness! by Eugene O’Neill With this production, the Guthrie honors the generosity of Target, Marshall Field's Project Imagine and the National Endowment for the Arts with support from the Heartland Arts Fund. =============================================================================================================== A S T U D Y G U I D E published by The Guthrie Theater Senior Editor: Michael Lupu Editor: Belinda Westmaas Jones Research: Dramaturg: Michael Maletic Kate Bredeson Jason Brown Sam Chase Produced with the support of: Jo Holcomb Jo Holcomb Belinda Westmaas Jones Sheila Livingston Michael Lupu Catherine McGuire Michael Maletic Julie McMerty Shane R. Mueller Carla Steen Patricia Vaillancourt Website Layout and Maintenance: Patricia Vaillancourt All rights reserved. No part of this Study Guide may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publishers. Some materials published herein are written especially for our Guide. Others are reprinted by permission of their publishers. -
Ah, Wilderness! the First Production 4
AUDIENCE GUIDE Compiled and Edited by Jack Marshall September-October 2007 About The American Century Theater The American Century Theater was founded in 1994. We are a professional company dedicated to presenting great, important, and neglected American plays of the Twentieth Century… what Henry Luce called “the American Century.” The company’s mission is one of rediscovery, enlightenment, and perspective, not nostalgia or preservation. Americans must not lose the extraordinary vision and wisdom of past playwrights, nor can we afford to lose our mooring to our shared cultural heritage. Our mission is also driven by a conviction that communities need theater, and theater needs audiences. To those ends, this company is committed to producing plays that challenge and move all citizens, of all ages and all points of view. In particular, we strive to create theatrical experiences that entire families can watch, enjoy, and discuss long afterward. These study guides are part of our effort to enhance the appreciation of these works, so rich in history, content, and grist for debate. Like everything we do to keep alive and vital the great stage works of the Twentieth Century, these study guides are made possible in great part by the support of Arlington County’s Cultural Affairs Division and the Virginia Commission for the Arts. 2 Table of Contents Ah, Wilderness! The First Production 4 Eugene O’Neill 7 By Edward L. Shaughnessy Filtering America’s Past Through Sunlight: 15 Eugene O’Neill’s Ah, Wilderness! By Yvonne Shafer The 2007-2008 American Century Theater Season 3 Ah, Wilderness!--- The First Production The original 1933 Broadway cast of Ah, Wilderness! was… Nat Miller...............................................George M. -
Study Guide For
Study Guide for Written by Róisín McBrinn and Sam Maynard Edited by Sam Maynard Rehearsal Photography by Marc Brenner Production Photography by Johan Persson This programme has been made possible by the generous support of the Harold Hyam Wingate Foundation 1 Contents Section 1: Cast and Creative team Section 2: An Introduction to Eugene O’Neill Eugene O’Neill: A timeline ‘Dat ole Davil’ – Eugene O’Neill, ANNA CHRISTIE, and the sea Section 3: ANNA CHRISTIE – The play Key Themes of ANNA CHRISTIE An introduction to the Three Principal Characters Section 4: Inside the Rehearsal Room A Discussion with Paul Wills, Designer A Discussion with David Hayman, playing Chris Christopherson Extracts from Assistant Director Simon Evans’ Rehearsal Diary Section 5: ANNA CHRISTIE in performance Before seeing the production: Practical Exercise After seeing the production: Discussion Exercise Section 6: Further Study Ideas for further reading Bibliography 2 section 1 Cast and Creative Team Cast: Paul Brightwell Jenny Galloway David Hayman Johnny the Priest Marthy Owen Chris Christopherson Jude Law Robert Lonsdale Henry Pettigrew Mat Burke Postman Larry Michael Walters Matt Wilman Ruth Wilson First Longshoreman Second Longshoreman Anna Christopherson Other roles played by members of the company. 3 Creative Team: ROB ASHFORD Director For the Donmar: as Director: Concert Performance of Merrily We Roll Along, A Streetcar Named Desire. As Director & Choreographer: Parade. As Choreographer: Guys and Dolls (Piccadilly). Theatre: As Director in London: Shrek the Musical. As Director on Broadway: How to Succeed in Business Without Really Trying, Promises Promises. As Choreographer on Broadway: Cry Baby, Curtains, The Wedding Singer, Thoroughly Modern Millie – Tony Award for Best Choreography. -
The Portrayal of the Ideal Male in Selected Works of Eugene O'neill
CORE Metadata, citation and similar papers at core.ac.uk Provided by OPUS: Open Uleth Scholarship - University of Lethbridge Research Repository University of Lethbridge Research Repository OPUS http://opus.uleth.ca Theses Arts and Science, Faculty of 2012 The portrayal of the ideal male in selected works of Eugene O'Neill Driedger, Benjamin Albert Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2012 http://hdl.handle.net/10133/3238 Downloaded from University of Lethbridge Research Repository, OPUS THE PORTRAYAL OF THE IDEAL MALE IN SELECTED WORKS OF EUGENE O’NEILL Benjamin Albert Driedger B.A. (English), University of Lethbridge, 2012 A Thesis Submitted to the School of Graduate Studies of the University of Lethbridge in Partial Fulfilment of the Requirements for the Degree MASTERS OF ENGLISH Department of English University of Lethbridge LETHBRIDGE, ALBERTA, CANADA © Ben Driedger, 2012 To Gretchen, who taught me the joy of teaching, To Maureen, who taught me the joy of academia, and to Tanis, who taught me joy. iii Abstract A woman’s choice between a starry-eyed dreamer and a pragmatic businessman ends in disaster. This situation is a motif in the works of Eugene O’Neill, and examining its occurrences in Beyond the Horizon, The Great God Brown, Strange Interlude and Long Day’s Journey into Night sheds light on the “seeker” (the starry-eyed dreamer) and “provider” (pragmatic businessman) characters in O’Neill’s work as well as his understanding of what women believe is the “Ideal Male.” Through his work, O’Neill questions whether women really want a seeker or a provider and, perhaps, would prefer a father instead. -
Strange Interlude by Eugene O’Neill
A publication of the Shakespeare Theatre Company ASIDES 2011|2012 SEASON • Issue 4 Michael Kahn directs Strange Interlude by Eugene O’Neill Michael Kahn talks about his journey to Strange Interlude page 3 The Eugene O’Neill Festival Guide page 20 Celebrating 25 years of Classical Theatre A publication of the Shakespeare Theatre Company Dear Friend, ASIDES This issue of Asides highlights In Pursuit Eugene O’Neill’s Strange Interlude, a play I have wanted to share with 3 In Pursuit of Happiness you for a very long time. This rarely by Norman Allen of performed masterpiece earned O’Neill his third Pulitzer Prize for 5 The Battle at Journey’s End Drama, and played a part in winning him the by Arthur Gelb and Barbara Gelb Nobel Prize in Literature. Its novelistic complexity Happiness and experimental form have rendered it a classic, 8 Eugenic O’Neill and with intriguing possibilities for reinterpretation Michael Kahn’s Journey Strange Interlude and restaging. by Tamsen Wolff to Strange Interlude 10 A Strange Sensation Strange Interlude attracted the attention of by Laura Henry everyone from George Bernard Shaw to the by Norman Allen Marx Brothers. It is a remarkable, intricate work 12 See All Sides of O’Neill with innovative form, and it displays O’Neill by Hannah J. Hessel at the height of his power as a dramatist and 13 Creative Conversations thinker. This issue of Asides examines the ways in which Strange Interlude continues to push the 14 Play in Process boundaries of text, concept and performance. 15 Strange Interlude Cast and Artistic Team STC keeps classical theatre alive by staging works of historical and intellectual stature, and Strange © The Al Hirschfeld Foundation. -
Long Day's Journey Into Night
Long Day’s Journey Into Night LONG DAY’S JOURNEY INTO NIGHT EUGENE O’NEILL CRITICAL EDITION Edited by William Davies King Foreword by Jessica Lange Foreword copyright © 2014 by Jessica Lange. Critical edition, including notes, chronology, essays, and bibliography, copyright © 2014 by William Davies King. Long Day’s Journey Into Night copyright © as an unpublished work 1955 by Carlotta Monterey O’Neill. Copyright © 1955 by Carlotta Monterey O’Neill. First published February 1956. Copyright © renewed 1984 by Yale University. Corrected edition copyright © 1989 by Yale University. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the US Copyright Law and except by reviewers for the public press), without written permission from the publishers. Yale University Press books may be purchased in quantity for educational, business, or promotional use. For information, please e-mail [email protected] (US office) or [email protected] (UK office). Frontispiece: Eugene O’Neill in 1939, at the time of writing Long Day’s Journey Into Night (Photo © Horace Bristol/Corbis. Louis Sheaffer–Eugene O’Neill Collection, Linda Lear Center for Special Collections & Archives, Connecticut College) Printed in the United States of America. Library of Congress Control Number: 2013956573 ISBN: 978-0-300-18641-3 (pbk.) 10 9 8 7 6 5 4 3 2 1 CAUTION: Professionals and amateurs are hereby warned that Long Day’s Journey Into Night, being fully protected under the copyright laws of the United States of America, the British Commonwealth, including Canada, and all other countries of the copyright union, is subject to royalties. -
E.G.O the Passions of Eugene Gladstone O'neill
E.G.O.: The Passions of Eugene Gladstone O’Neill A full-length play in two acts by Jo Morello Registered WGAW1068640 by Jo Morello 6620 Grand Point Avenue University Park, FL 34201-2125 Phone: 941-351-9688 FAX: 941-306-5042 [email protected] or [email protected] E.G.O.: The Passions of Eugene Gladstone O’Neill, 11/12/2009 ii I- E. G. O.: The Passions of Eugene Gladstone O’Neill A full-length play in two acts by Jo Morello 2M, 2F; some doubling Running time: approx. 55 minutes for each act. Unit set with suggested sets and costumes. Suggested music may be available from author on CD-ROM Synopsis Raised in the theatre as the son of matinee idol James O’Neill, Eugene O’Neill struggled to measure up to and ultimately surpass his father. At 29, he had a wife and son behind him and a life of playwriting ahead— complicated by struggles with alcohol, disease and “the things life has done”—when he met widowed fiction writer Agnes Boulton, 24. Upon his insistence that they must share “an aloneness broken by nothing,” she left her daughter with her parents to marry him—but that aloneness was broken when they had two children of their own, Shane and Oona (the future Mrs. Charlie Chaplin). While married to Agnes, O’Neill won two Pulitzer Prizes (Beyond the Horizon, Anna Christie) and wrote Strange Interlude, which would bring a third Pulitzer. (His fourth Pulitzer, for Long Day’s Journey Into Night, was awarded posthumously.) O’Neill began his own “Interlude” in 1927 with beautiful, domineering, second-rate actress Carlotta Monterey while sending Agnes passionate proclamations of love. -
Eugene O'neill - Poems
Classic Poetry Series Eugene O'Neill - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Eugene O'Neill(16 October 1888 – 27 November 1953) Eugene Gladstone O'Neill was an American playwright and Nobel laureate in Literature. <b> Early Life</b> O'Neill was born in a Broadway hotel room in New York City on October 16, 1888. O'Neill's father, James O'Neill, was one of Nineteenth Century America's most popular actors. Due to his father's profession, O'Neill was sent to a Catholic boarding school where he found his only solace in books. O'Neill spent his summers in New London, Connecticut. In 1906 he entered Princeton but was soon nts vary as to why he left. He may have been dropped for attending too few classes, been suspended for "conduct code violations", or "for breaking a window," or according to a more concrete but possibly apocryphal account, because he threw "a beer bottle into the window of Professor Woodrow Wilson," future president of the United States) He spent several years at sea, during which he suffered from depression and alcoholism. O'Neill's parents and elder brother Jamie (who drank himself to death at the age of 45) died within three years of one another, not long after he had begun to make his mark in the theater. Despite his depression he had a deep love for the sea, and it became a prominent theme in many of his plays, several of which are set onboard ships like the ones that he worked on. -
MOON-Audience-Guide.Pdf
Jewel Theatre Audience Guide directed by Joy Carlin by Susan Myer Silton, Dramaturge © 2019 ABOUT THE PLAY A Moon For the Misbegotten is a joyous tribute to the regenerative power of love, a drama conceived and created in deep affection. —Virginia Floyd, The Plays of Eugene O’Neill: A New Assessment CHARACTERS (IN ORDER OF APPEARANCE) Josie Hogan (Diana Torres Koss): the Irish-American daughter of Phil Hogan and sister of Mike Hogan. Her other two brothers are Thomas and John, who are offstage characters in the play. Mike Hogan (Shaun Carroll): Josie Hogan’s youngest brother and third son of Phil Hogan. Phil Hogan (Howard Swain): father of Josie Hogan and Mike Hogan, Phil is an Irishman and tenant farmer, raising pigs on James Tyrone, Jr.’s land. James (Jim) Tyrone, Jr. (Rolf Saxon): the landlord of the property where Phil Hogan has his pig farm, Jim is an actor and gambler. He is the son of James Tyrone and Mary Cavan Tyrone and the brother of Edmund Tyrone. All four are characters in A Long Day's Journey Into Night. He is ten years older in A Moon for the Misbegotten. T. Stedman Harder (Jerry Lloyd): an heir to Standard Oil money and neighbor of Phil and Josie, his beachfront property abuts the Hogan farm. Please see separate biographies of each character as addendums to the Guide 1 Dialogue and a central scenic image are focal in A Moon for the Misbegotten, a sequel to Long Day’s Journey Into Night. ~Timo Tiusanen, O’Neill’s Scenic Images SETTING AND TIME According to the playwright’s stage directions, “The play takes place in Connecticut at the home of tenant farmer, Phil Hogan, between the hours of noon on a day in early September 1923, and sunrise of the following day”.